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I GAG O .

SKEJ'TGH OF L,I F'E) AND WORKS-

XVII

SPENCERIAN PUBLICATIONS BY P. R. SPENCER’S SONS.

1879-80-Si -82-83-84.-83.

manship Parts I., II., HI., IV., V.

taining nine plates, all of which are embraced i
work, in book form.

1 s

New Spencerian Compendium of Pen-

each con-
111 this completed

VI., VII., VIII.

After Mr. Spencer’s death, the perpetuation of his System
of Penmanship through new publications naturally devolved
upon his sons, who had been associated with him in his
labors. The last of the elder Spencer’s works appeared in
1863. Since that date have appeared as follows:

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Spencers' New Copy-Books
1, iA, 2, 2A, 3, 4, 5 and 6;

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embracing School Series, Nos.
Business Series, Nos. 7 and 8; La
dies Series, Nos. 9 and 10. Writing and instructions simplified.
Hand-Chart and Movement Exercises,

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1864. ‘ ‘ Spencerian System of Practical Penmanship ,” in 12 Numbers

distinct Series, New Standard Edition ; all Copy-Books. Also,
Spencerian Charts of Writizig
and Drazving , Nos. 1, 2, 3,

4» 5> 6 -

on covers.

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New Standard Practical Penmanships

1885.

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Business College Edi¬
tion; simple, rapid, practical. A
complete set of copy-slips, with

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ample illustrations of position,
pen-holdin

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Spencerian Key to Practi¬
cal Penmanship .
of instructions

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1866.

and movements.

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A manual

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teachers, and pupils.
r<?7j. “ Shorter Course in Spen-

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time to time, in the arrange¬
ment and grading of copy¬
books for schools, b}^ expe¬
rienced teachers.

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Books, in 3 Graded Numbers.
Also,

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Atuong
these, Air. M. D. L. Hayes,

the enthusiastic and

Tracing-Book, Spen- r
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suc¬
cessful general agent for

the Spencerian publications,
from 1864 to 1875, is enti¬
tled to special mention, in
connection with the

of larger copy-books; also Mr. George H. Shattuck, his
successor m the agency, for valuable suggestions in the
preparation of New Shorter Course Copy-books.

The elder Spencer Brothers gratefully acknowledge their
appreciation of the devotion of their younger brother, Tyman

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Business Office of Messrs. Ivison, Blake:

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and 755 Broadway, New York.

Theory of Spencerian
Penmanship"; an illustrated

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hand-book of instruction for teachers and pupils.
Charts of Writin

Also, Spencerian
magnified forms

47 pages or leaves, presentin
of letters and figures, with explanations.

New Graded Series ,

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in 7 Numbers;

Also

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Shorter Course , Spcn-
Tracing- Books ,

System of Penmanship.

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and 4.

XV111

SKE^fCH OR RlRR AND WORKS.

P. Spencer, to the execution of this work, the “ New Compen¬
dium of Spe?icerian Penmanship.

New works and revisions of former works will be prepared

by P. R. Spencer’s sons as required to meet just demands of
the public.

i i

Platt R. Spencer, studyin

the lines of beauty as drawn by the
hand of nature, wrought out that system of penmanship which is now
the pride of our country and the model of our schools.

))

Garfield was a lover of art in all its departments,
penmanship he was a

Spencerian pupil, and he wrote well.
At one time he taught the art, and found in it a means

of sustaining himself, while pursuing academic studies.

acquired the system from Spencerian publications and
adept teacher who

NATURE HIS TEACHER.

James A. Garfieed, in 1869, i n an educational address
to the students of the Spencerian Business College of Wash¬
ington, D. C., speaking of the origin of Spencerian penman¬
ship, said: —

pupil of P. R. Spencer.

was a

. 4 .

VRITIN

PRAGTIGAIa

WRITING,

The subject of Practical Penmanship is presented by the columns of the “ Penman’s Art Journal,
the first eleven plates in the body of the Compendium. Of was so
these, the first offers a gen¬
eral view of the standard
Letters and Figures with
their proportions and analy¬
sis, while the remaining ten
contain a Graded Series of
Copies designed for Business
Colleges and home instruc¬
tion.

those copies when first is¬
sued, a Course of Instruc¬
tions was prepared by the
Spencer Brothers and pub-

9 •

lished in monthly parts
Lesson for each month -

The Course

favorably received that it has been thought best to

reproduce it here in con¬

nected form and substan¬
tially as first issued,
instructions given with ^ach
lesson are much the same
as an experienced and
nest teacher would present
before his class in connec-

The

In connection with

tion with the same copies;
and it is believed will prove

more interesting and profita¬
ble than any mere routine
statement of the subject,
however methodical and sys¬
tematic.

LESSONS IN PRACTICAL WRITING.

WHO CAN LEARN TO WRITE.

in onr public and private schools, with the aid of systematized copy-books

and charts, are doing better teaching than formerly.

The business colleges of the United States, with their skilled, able,
and energetic teachers of penmanship, are annually training up thousands
are bom, not of elegant writers ; also teaching them how to apply their skill in corre-
But it is not likely that there are many spondence, book-keeping, and the practical affairs of life. The influence
who hold to a notion so absurd among those who also of the Penmen’s papers in diffusing more widely a knowledge of the

will seek to profit by these lessons. We do not, useful and beautiful in the art must not be overlooked. The great

of course, deny that individuals differ in natural aptitude for increase in the number of good writers is, in fact, a part of the general

as they do in their capacities for learning progress of our times. The good work must be carried forward.

HERE are many sensible people who cling to the

fe. notion which has descended through many gen-
• ■

erations, that penmen, like poets,
made.

i i

learning writm

other practical arts ; but we do know that there is nothing

GOOD WRITING SHOULD BECOME UNIVERSAL. .

Writing, like spelling, reading, and calculations, is a requirement
of every-day life. All such things should be specially well done. The
pen is the mouthpiece of the correspondent, the forerunner of the press,
the recorder of the myriad transactions of the business world. Its use,
so universal, so important, renders its proper acquirement a necessity, —
a duty which, no one can afford to neglect.

We may properly appeal to various

connected with the successful acquirement of the twenty-six

standard script capitals, and the twenty-six small letters with
their proper combinations, that is necessarily beyond the capacity of
sensible persons. Our conviction on this point, based upon long expe¬
rience and extended observation, is formulated thus : any person who has
good commoji sense, o?ie or two eyes , and Jive fingers on either hand , can,
under proper instntetion , learn to write well.

We believe there is a steady

MOTIVES FOR LEARNING PENMANSHIP,

INCREASE OF GOOD WRITERS.

There is a real

and stimulate them by appropriate considerations,
pleasure to be derived from the study of symmetrical handwriting:

ood writers now where but one could be found twenty

We meet ten

years ago. The more general introduction in our country of a recognized
standard of penmanship, and methods of instruction and training by it brings into delightful activity and consequent development the facul-

which learners are enabled to approximate to that standard, has largely ties of form, size, order, constructiveness, and comparison. Then there

satisfaction in skill of hand. Hand-work is brain-work brought
down and expressed in visible forms through nerve and muscle. The

increased the number of good writers in proportion to the whole pop- is a
ulation. There are other agencies which should be mentioned. Teachers

PRACTICAL,

complimentary approval of one’s skill by relatives, friends, and acquaint¬
ances is no slight incentive to the mastery of the pen. Again, there
are the

PECUNIARY ADVANTAGES

which good handwriting secures, especially to those who are just entering
bus}' - life, upon their own responsibility. As our civilization advances,
competition in every department of business activity becomes sharper
and closer. For every business position now offered there are crowds
of eager competing applicants, each striving to secure the preference.
Competitors for places usually first become known to employers through
their letters, which are read and compared. Other qualifications bein
satisfactory, the advantages which a superior handwriting secures to an
applicant are clearly evident. The possessor of such a handwriting wins
and rises where "others, deficient, fail nnd fall.

Practical chirography, as all know, not only secures paying positions,
but helps to

PROMOTION AND ADVANCEMENT.

The reason is, because a man’s measure in dollars and cents is his
ability to do, — to perform useful service to others. In this view, the pos¬
sessor of a legible, rapid, elegant handwriting may be justly estimated as
having from thirty to forty per cent, advantage over his competitors.

The ready penman, other points considered equal, is, therefore, not
only the successful candidate for business positions and promotions, but
he commands a higher salary because of his more valuable

THE COURSE OF LESSONS

which we are entering upon will be in accordance with those principles
which are fundamental in the system originated by Platt R. Spencer, —
those principles which took hold upon the minds of such men as Victor
M. Rice, James W. Lusk, K. G. Folsom, Wm. P. Cooper. John Gundry,
Geo. W. Eastman, and many others we might name, distinguished among
his earlier followers with the pen. Those principles have, in fact, given
rise to the present American school of skilled penmen, of which
country may be justly proud.

The Instructions to our pupils who are to take this course of
lessons must be carefully studied, cheerfully and perseveringly practiced.
Each lesson should be thoroughly mastered,
labor, ’ ’ remember.

services.

our

t <

No excellence without

WRlTlNQ.

PREPARATORY LESSON.

IRST, will you please write a sample showing the present condition
of your handwriting. Please do this without looking at any copy.
We suggest the following matter as suitable: —

Specimen of my plain penmanship ; alphabet of small letters, a , b, c ,
etc. ; alphabet of capital letters, A, B, C, etc. ; the figures, o,
nine ; the following verse:

I, 2, Up tO

“The pen, the pen, the brave old pen,

Which stamped our thoughts of yore, —

Through its bold tracings oft again
Our thoughts still freshly pour.”

Next your name and the date of writing.

Preserve your Specimen, and as you go forward in your course

J •

try it over again and again, aiming to improve each and every letter,
word, and figure.

When you are through with the course of lessons, a comparison of
first and last specimens will show your progress ; but we trust that, ere
the final test is made, your friends and acquaintances will have
to note your improvement as shown in your correspondence and other
chirographic work.

occasion

MATERIAL FOR WRITING

shonld consist of foolscap paper, of good quality, ruled medium width
(three-eighths of an inch between fines) ; steel pens that will make clean
strokes, and that have sufficient flexibility to shade small V s and p' s;
ink that is clean, flows freely, and has a distinct black or blue shade as
it flows from the pen. Keep the ink corked when not in use.. A piece
of blotting-paper and a pen-wiper may be added to the outfit. These
articles should at all times be in order for use.

The pages written in practice upon each of the lessons ought to be
dated, properly numbered, and preserved throughout the course. One
is more likely to do well that which he intends to preserve,
scribbling, which one hastens to throw into the waste-basket, is a positive
injury; it engenders bad habits of mind and hand, and is a waste of
precious time and valuable material.

PRAGTiGAL, WRITING.

After preparing

your specimen as above suggested, take up first

This can be done by placin

will be even with the lower line of the scale of small letters i
then, placin

of the b, d , or f, and projectin

your paper so that its upper or top edge

the

m your copy ;

one end of your ruler with its edge adjusted to the slant

SCRIPT ALPHABETS,

given on right half of Plate
models for imitative practice.

These are to be used in this lesson

down upon your writing-page, you can
rule a long line on correct slant by the left edge of the ruler

another by the right edge, and, moving the ruler to the right

width for each slant-line, continue ruling until the
These 1 ‘ slant-guides

Each learner has, in greater or less degree,
the faculty of imitation ; and by the exercise of this faculty upon the
full alphabets, with some study

; then
once its

an important advance-step may be im¬
mediately gained, and the student enabled to incorporate into his hand¬
writing the standard forms of letters in their general features, from the
beginning of his course, and not be left for a considerable period of time

with a ?nixed and heterogenious hand, composed of letters old and
in constantly varying proportions.

page is prepared,
will regulate the slant of the body strokes of the

If the learner will go over the alphabets again and again with

writing-scale,” the “slant-guides,

) )

letters.

the aid of the

) )

and

mental pho¬
tography,” together with counting strokes, until the forms of the letter

are familiar to eye and hand, he will surely make great
practical writing.

new

progress in

HOW TO PRACTICE.

Assume your own usual position for writing (we do not teach position
at this stage), bring the alphabet before you for a copy ; hold your pen

about one-sixteenth of an inch above the first letter, a , and form it in
the air, counting the strokes consecutively,

then close your eyes and make the letter in the air from the model seen
with your “mind’s eye

LESSON I.

one, two, three, four, five ;

POSITION FOR WRITING.

; this fixes the form upon the mental tablet.

Now transfer from mind
to paper, and as you write count your strokes, to secure regularity of

movement, also to make sure that no strokes are omitted,
as many times as it contains strokes ; then take the b in the same man¬
ner, and persevere with this method of practice until you have done all
the small and capital letters.

N choosing a position for writin
be secured ; viz. good fight, healthfulness

three advantages should, if possible

convenience.

& >

We designate the process mental photography.

Eight from above, over the left shoulder, is considered the most
desirable.

Write the a

A front fight, if not too low or too bright, is good,
fights tend to injure the eyes,
some shadows.

Cross

Light from the right produces trouble-

Healthfulness of position requires that there shall be no disturbance

of the full natural action of the lungs, heart, and digestive
Therefore bendin

organs.

the back outward, throwing the shoulders forward

AIDS TO PRACTICE.

If 5^ou do not succeed in makin

your letters the same size as the
copy, with ruler and pencil, rule fines to regulate heights and lengths,
as shown by the copy of alphabets.

having six fines and five equal spaces, each
inch in height.

hollowing the chest, and compressin
indulged in.

the abdomen, should not be

Such ruling forms

c (

ivriting scale ,

Convenience requires that the writing-page be in front of the face,
that the writer incline forward (the body bending only at the hips) just

excellent aid enough to focus the sight, that letters and words may be distinctly
to the ambitious learner, who will be guided by the lines and spaces as without straining the eyes.

he proceeds with his practice upon the standard letters.

space being one-ninth of

A correctly ruled scale will be found

seen

Convenience also requires that the right

Hence, throwing the weight

arm and hand be kept free for movement,
of the body upon the arms

holding the pen with a hard grasp, must be avoided.

If you find that you do not get your letters upon the

same slant

as the copy, guide-lines may be ruled upon your page to regulate slant.

pressing them down upon the desk, and

N EW

SPENCERIAN COMPENDIUM

OF PENMANSHIP.

A COMPREHENSIVE WORK UPON THE ART IN ITS VARIOUS DEPARTMENTS:

PRACTICAL WRITING, CALLIGRAPHY, TEXT AND LETTERING, FLOURISHING, PEN-DRAWING;

ACCOMPANIED BY FULL INSTRUCTIONS, AND ILLUSTRATED BY SEVENTY-THREE FULL-PAGE STEEL AND

LITHOGRAPHIC PLATES, AND A PROFUSION OF OTHER ILLUSTRATIONS .

P. R. SPENCER’S SONS.

IVISON, BLAKEMAN AND COMPANY

NEW YORK AND CHICAGO.

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On Eric's wild and woody shore ,

The rolling wave, the dancing stream,
The wild rose haunts i?i days of yore .

IVISON, BLAKEMAN AND COMPANY,

MEW YORK-,

PRESS OF

HENRY H. CLARK & CO

BOSTON.

INTRODUCTORY.

HE first “Compendium of Spencerian Penmanship” was issued in 1857. It was a work
devoted to the Spencerian script hands, and also presented some examples of Lettering and

Flourishing. It had many admirers, passed through numerous editions, and in its way
and day wrought a good work.

In the years that have elapsed since its issue, the ideas of the founder of the Spencerian school
of penmen have won their way, until all the chirographic instruction in our country now feels their
moulding influence. Little advance has since been made upon the teachings of Platt R. Spencer,
originator of Spencerian Penmanship, or upon the spirit of his work and that of his immediate pupils;

but, in finish of execution, symmetrical beauty and variety of form, in the penman s special art, and
we may also add in the sister arts of Lettering and Pen-Drawing, no time, it is believed, can rival the
present, or point to a finer array of talent skilled in the uses of the pen.

The New Spencerian Compendium aims to mirror the art of Penmanship as its stands to-day,
illustrating the departments of Script, Lettering, Flourishing, and Pen-Drawing, in a manner that will
be most acceptable to lovers, learners, and teachers of the art, and prove to all who turn its pages, or
reproduce its forms with pen, brush, or graver, a source of profit and delight.

The Compendium presents examples and instructions suited to the use of beginners, as well as of
more advanced students and adepts.

The plates, which were first issued in Eight Parts, are re-arranged in this book in a progressive
order, and full letter-press instructions and illustrations have been added. The completed work we send
on its mission- of use to the educational, professional, business, and social world.

SPENCER BROTHERS.

TO THE MEMORY

PLATT RO0ERS SPENSER,

ORIGINATOR OF THE

Spencerian Style and System of Penmanship

moth

IS AFFECTIONATELY INSCRIBED

BY HIS SONS,

Henry C. Spencer,

Robert C. Spencer,

Harvey A. Spencer,

Platt R. Spencer

Lyman P. Spencer.

TABLE OF CONTENTS.

LETTER-PRESS.

PAGE

Lesson IV.: — Muscular and finger rests—Movements of the arm in connec¬
tion with the finger and thumbAction of thumb—Impressing the copy
upon the mind by “ mental photography ” — Instruction on the letters o, a,
e, c, r, and s —Criticism — Monograms — Left-hand practice

Lesson V.: — Awkward position and movements; Judge Caldwell’s humorous

description — The Semi-extended letters z 1 , d, p, and q taught—Slanting
guide-lines—Movement—Shading — Tracing with countin

Lesson VI.: — The Upper-extended Loop Letters h, k , /, and b —Difficulty in

executing the extended letters — The two general directions of movement
in writing, and the arm, hand, and fingers to co-operate in both — “Over¬
action ” — Compound or mixed movement — Rapidity of execution

Lesson VII.: — The Lower Loop Letters j,y, g, 2 , and f —The Figures— Impor¬
tance of making the figures well — Their size — How to practice on them —
Abbreviating small letters and figures ........

Lesson VIII.: — How much time should be given to practice — The size and

spacing of writin

last letters of words — Illegible writin

Lesson IX.: — Music in connection with the writing lesson—The “Log Semi-

Ode to the Pen — The Oval form in capitals — The Direct-oval

Movements to be used in practicing on the capi¬
tals — Abbreviated forms of the O , E, D , and C .

Lesson X.: — The Left-oblique position for writing — Blackboard writing —

Size of the Capital Exercises and Movements to be employed in them —
The Reversed-oval Capitals X , W, Z , and Q .....

INTRODUCTION.

DEDICATION.

PLATT R. SPENCER.

President Garfield’s Tribute to his Character .

Sketch of his Life and Works ....

111

XI1

. Xlll

WRITING.

LESSONS IN PRACTICAL WRITING.

Remarks Preliminary to the Lessons: — Who can learn to write — In-

Good writing should become universal — Motives

Promotion and advance-

Principles in accordance with which the Lessons are given

crease of good penmen
for leaiming penmanship — Pecuniary advantages

ment

Preparatory Lesson: — First Specimen — Materials for writing—Imitative

practice on the script alphabets to begin with — How to practice — Aids to
practice: slant guides , writing scales , and “ mental photography ” .

Lesson I.: — Position

it — Instruction on the copies

Review of the small alphabet — Abbreviating first and

Anecdote of Horace Greeley

Correct Penholding: Manual of the pen, for securing

Movements explained .

Lesson II.: — Courage required to correct a faulty position —

— Tracing the Copy with dry pen or sharpened holder—Criticise your
work — The z", u, and w taught — The zz-space — The zephyr-ball and paste¬
board button, for securing correct position of hand .

5 ?

nary

capitals O, E , D, and C

Penholdins - drill

Correct way of holding the pen more

Ambidextrous writing

Lesson III.:

The V, U, and Y — The 7

Gimcrack

Reversed-oval Capitals continued
and /—Redundant strokes to be avoided in practical writin

fully explained — The zz, m, v, and .r taught — Distance between letters in
words

Lesson XI.:

Observing the number of parts composing letters, words, and sen-
Letters to be joined into words by a sliding movement .

penmanship

tences

VI11

TABLB}

Lesson XII.:

principles , and practice

of capitals — The forms of writing seen in nature — The A, N, and M
The T and F —Abbreviated forms of the A, TV, M, T \ and F
of writing as an art.

The natural divisions of a lesson in writing into movement,

Exercise on the Capital-Stem — Capital-stem class

The rank

Lesson XIII.:

The Capital-stem letters continued
— Exercises in the “ Square-and-a-half
S, L , and G .... .

The H, K , S, L , and G
Abbreviated forms of the H, K,

Lesson XIV.:

The Stem-oval letters P, B , and R

— Specimen embracing the entire alphabet to compare with specimen at
beginning of lessons.

Exercise in the Square

Lesson XV.:

Review of Movements — Shading
ness of writing, but may be dispensed with —
The seven forms of shaded strokes

- It adds to the attractive-
Method of practicing it —
How the pen should be handled in

shading

Lesson XVI.:

capitals —

— A Review Lesson upon the entire alphabet of small letters and
The alphabet abbreviated or simplified .

Stanzas from an old copy-book cover —
writing lesson in a public school— Different Sizes of writin

practice them —Varying the scale, that is, changing the relative heights of
the different classes of letters — Abbreviated writing .

Lesson XVII.:

Model opening of a

How to

Lesson XVIII.:

Rdsumd of teachings

Theory and practice

Designation of copies for practice, viz.: Ledger Entry, Be¬
ginning for Articles of Agreement, and Business Capitals —Individuality -
in handwriting — Final specimen — Supplementary practice .

Position,

Movements

Positions at the Table for Writing:

A full review of the various Posi-

The Front Position —
The Right-oblique, or Partial Right-side Position
—The Left-oblique, or Partial Left-side Position, sitting—The Left-oblique
Position, standing at the desk, or the Accountant’s Position

tions (illustrated by views and diagrams of each):
The Right-side Position

OF OONTFNTQ.

CALLIGRAPHY.

PAGE

The Expression of Writing :

PAGE

Grace — Elegance
Spirit and Dash — Picturesqueness .

Boldness and Strength

Variety of Styles :

Italian Hands
Sign-writers’ Script .

Ladies’ Hands
Back Hands

Runningband
Angular Hand

Wholearm Styles
French Round Hand

FLOURISHING.

| Preliminary Remarks — Materials -
Elementary Forms
Course of Practice .

Miscellaneous Precepts
Sketch of History of Flourishing .

Position and PenLoldin

5 J

LETTERING.

Introductory Observations
Roman Letters .

Egyptian—Full Block .
Italic and Italian

and Old English

General Principles .

Straight Line and Curved Line Alphabets

German Text

Spacing..

Laying out Letters.

Variation of Letters in size, position, proportions, and style.

• 63

PEN-DRAWING.

Introduction—Materials and Implements
36 Elementary Exercises ....

Securing an Outline
Styles of Pen-Drawin
Enlargement and Reduction of Drawings
Cleaning and Corrections ....

Mounting Drawings.

38 Pen-Drawings for Photo-Engraving .

TABLE) OB CONTENT'S •

FULL-PAGE STEEL PLATES.

■55*

PLATE

i Angular Hands.

( Frontispiece ) French Round Hand ....

Large Script for Signs, Headings, etc. .

Engraved Title ....
Portrait of Platt R. Spencer .

. 41, 42, 43, 44. 45, 46

PRACTICAL WRITING.

FLOURISHING.

Spencerian Medium Hand, measurements and analysis
Copies for Lessons 1, 2, and 3 in Practical Writing .

Copies for Lessons 4, 5, 6, and 7 in Practical Writing .
Copies for Lessons 8, 9, and 10 .....

Copies for Lessons 11, 12, and 13.

Copies for Lessons 14, 15, and 16 ....

Business Letter — Beginning for Articles of Agreement
Receipt — Bill of Purchases — Promissory Note
Double Entry Ledger—Cash Book . . . . .

Single Entry Day Book—Journal Day Book .

Business Capitals — Spencer Brothers’ Abbreviated Hand .

Position for Flourishing.

Elements of Flourishing.

Illustration of successive steps in flourishing Birds

Flourished Birds, Swans, etc.

Pen and Scroll design with written stanza, “ Count that day lost,” etc.
Flourished design, enclosing stanza, “ Kind words are gardens,” etc., in letter¬
ing .....

Flourished Bird and written Note

. 48, 49

50, 51

52 , 53 , 54

• •

. 56

LETTERING.

Roman Letters, proportions of.

Half Block or Egyptian, proportions of

Full Block, proportions of.

Free Italic and Italian ......

Straight-line styles of Letters.

Off-hand styles of Letters ......

German Text, proportions of.

Old English Text, proportions of ...

•I

Trojan Text .........

Development of Ornamental from Plain Styles of Letters

Ornamental Initials.

Telegraphic Alphabet ......

Lettering Scale.

. 58

CALLIGRAPHY.

Spencerian Ladies’ Hand, in four styles
Letter, in Spencerian Ladies’ Hand .

Spencerian Runninghand
Wholearm or Forearm Capital Exercises .

Variety of Styles of Capitals .

Words and Names giving exercise on Forearm or Wholearm Capitals .

Signatures.

Negotiable Note — Note Payable in Goods.

Foreign Bill of Exchange—-Due Bill.

Receipt for Goods to be sold on Commission — Bill of Charges

Bill of Purchases.

Account Current ...........

Letter of Credit . . . . . . . . . . .

Italian Script . . . *.

Script Monograms ..

Back Hands.

r 4

16, 17, 18

19, 20, 22, 23, 24

. 25, 26

68, 69

7 i

PEN-DRAWING.

Group of Heads and Figures, illustrating different Styles of Finish (Photo-

Engraving from Pen Drawing) ..

Science Crowning the Arts ..........

34 , 35
- 36

37 , 38

7 2

* A few of the plates are lithographic.

TABLE/ OF'

ILLUSTRATIONS IN

PAGE

View of Building in New York City where Mr. Spencer taught

IN 1864 .

Interior View of the Offices of the Publishers of the Spen¬
cerian Works, 753 and 755 Broadway, New York .

xvu

PRACTICAL WRITING.

FIG.

1 Front view of Hand and Pen in Proper Writing Position .

2 Correct and Incorrect Position at the Table in Writing

3 Front position at Table for writing, front view .

4 Front position, diagram .

5-9 Successive positions in the “ Manual of the Pen

10 Correct position of Hand and Pen —View of right side of Hand

11 Proportions of the i, u, and -w .

12 Correct position for Hand and Pen

13 Proportions of n , ?n, v , and x

Left side view

14 Hand and naked Forearm in position for Writing, showing Arm-rest

15 Proportions of the o , a , e, c, r, and j.

16 View of Hand and Pen, illustratin

extension and retraction of fingers in

executing extended letters

17 Proportions of the Semi-extended Letters /, d\ p, and g ... .

18 Proportions of the Upper Extended-loop Letters h, k, /, and b .

19 Proportions of the Lower Extended-loop Letters/, y,g, z, and f

20 Proportions of the Figures.

Exercise upon the Figures in Squares.

Abbreviation of Small Letters and Figures .

23 Proportion of Writing-space to RuJed-space when the writing is on a ninth-

inch Scale.

* • * •

24 Spacing between Words.

25 Four-line Copy, written on a tenth-inch Scale, dividing the ruled space into

four equal parts.

26 Exercise on the Circle and Oval in the Square ......

The Log Seminary (cut unnumbered) .

2 7 Proportions of the ( 9 , D . C, and E .

28 Simplified forms of O , D, C, and E .

29 Left Oblique or Partial Left side Position at the table for writing

r 7

r 9

CONTENTS,

THE LETTER-PRESS.

FIG.

PAGE

30 Exercise on the Reverse-oval

• • • • 1

31 Proportions of the X, IV, Z, and Q . . .

32 Exercise on the Reversed-oval modified, as in the V, U , and V

33 Proportions of the V, (/, and V .

34 Proportions of the I and J .

35 Exercise on the Capital-stem in the Square-and-a-half

36 Proportions of the A, N, and Af .

37 Proportions of the T and F .

38 Abbreviated forms of A, N, M, T, and F .

39 Exercise on first half of H and IC, in the Square-and-a-half

40 Similar Exercise on the S’.

41 Proportions of the H and K .

42 Proportions of the Y, L, and G .

43 Abbreviated forms of the H , K , Y, L , and G ... .

44 Exercise on the Stem-oval, in a Square ......

45 Proportions of the P, B, and R .

46 Alphabet of Simplified

47 Illustration of six of the most useful Sizes of Script

48 View of Front Position at the desk, for Writi

49 Diagram of Front Position ....

50 Diagram of Right-side Position at desk .

51 View of Right-side Position

52 View of Right-oblique or Partial Right-side Position at desk

53 Diagram of Partial Right-side Position ....

54 Diagram of Partial Left-side, or Left-oblique Position .

55 View of Partial Left-side Position (sitting) ....

56 Accountant’s Petition

2 7

3 o

3 i

32 .

Abbreviated Capitals

no-

• 38

CALLIGRAPHY.

57 Curvature of connecting lines, in script Letters .

58 Illustration of the Picturesque in writing

59 Proportionate heights of script Letters

Headings.

60 How the Curves of the small letters i

Tail-piece.

slip penned by P. R. Spencer
they may be used in Signs and

script may be derived from Ovals

TABLE) OB' CONTENTS.

FLOURISHING.

PAGE

FIG.

61 A device that may be attached to the pen, for retaining ink in flourishing . 49

62 Simplest strokes in Flourishing; for First Exercises

Position of the Pen relative to the Shaded strokes, in Flourishing

Graphic method of enlarging or reducing a letter to a given height or width

preserving its proportions ........

How the Proportions of Letters are Varied ..

Tail-piece to text on Letterin

LETTERING.

64 Figures illustrating the difference between real and apparent uniformity of

size.

65 Monograms of the Roman Letters, illustrating their forms and proportions

66 Quill Text-pens, and illustrations to aid in making them

67 Broad Text-pens made of flattened quills ....

68 Position of the pen relative to the strokes in executing Text

69 Spaces between Letters in Words, in lettering .

Exact graphic method for re-spacing a word or line, already lettered or laid

out, to fill a given space. .

PEN-DRAWING.

73 View of Penholder with Oblique Tip .

74 View of Drawing Pen ....

Exercises in Flat Shading with Pen .

76 Exercise in Graded Shading with Pen .

77 Direction of Cross Lines in Pen shading .

78 Pen Drawing of Cylinder, Line shading .

79 Pen Drawing of Sphere, Stipple shading .

. 65 | 80 Method of Enlarging or Reducing drawings by means of Radiating lines

. 76

62
• 63

SKETCH BY

I FIRST saw Mr. Spencer in 1857, when he came to Hiram, Ohio,
and delivered a lecture before the students of the Eclectic Institute.

struck with the clearness and originality of his mind, and with

I was

the pathetic tenderness of his spirit. Soon afterwards he and his sons
took charge of the department of Penmanship in the Institute, and

intimately acquainted with his mind

from that time forward I was

I have met few men who so completely won my confi-

and heart.

dence and affection.

The beautiful in nature and art led him a willing and happy cap-
To know what books a man delights in enables us to know

tive.

the man himself, and when I say that Robert Burns was one of his
favorite authors, it is equivalent to saying that a keen relish for the

humorous, sympathy with the lowly, and love of all that is beautiful
in nature and art, were the distinguishing traits of his character.

Like all men who are well made, he was self-made. Though his
boyhood was limited by the hard lot of his pioneer life, his love for
the beautiful found expression in an art which his genius raised from
the grade of manual drudgery to the rank of a fine art.

It is honorable to undertake any worthy work, and accomplish it

reat to become the first in any such work; and

successfully ; it is

A. GARFIELD.

it is unquestionably true that Mr. Spencer made himself the foremost

And this he did without masters. He not only

penman of the world,
became the first penman, but he analyzed all the elements of chi-

rography, simplified its forms, arranged them in consecutive order, and

created a system which has become the foundation of instruction in

that art in all the public schools of our country.

But his mind was too large and his sympathy too quick and active

to be confined to any one pursuit. The poor and the oppressed found

in him a friend and champion. He was always ready to lend a help-

hand to those who were struggling for a higher culture ; for he

had experienced in his own fife the obstacles which poverty places in

the pathway of generous and ambitious youth.

To thousands of young men and women who enjoyed the benefit
of his brilliant instruction, to the still larger circle of his friends and
acquaintances, and to all who love a gifted, noble, and true-hearted

the memory of his life will remain a perpetual benediction.

man

JAMES A. GARFIELD.

Washington, D. C., April 20, 1878.

PLATT R.

SKETCH OF HIS

l800

^Zk L ATT ROGERS SPENCER, originator

of the Spencerian Style and System of
Penmanship, was horn in East Fishkill,
Duchess County, N. Y., November 7,
1800. In this county, and in Windham,
Green County, N. Y., he lived until he
was nine years of age. As a lad he was passion¬
ately fond of writing. Paper being a luxury rarely
attainable in those days, he had recourse to other
materials. The bark of the birch tree, the sand-
beds of the brook, and the ice and snow in winter,
furnished his practice sheets. One of his favorite
resorts was the shop of his indulgent old friend,
the shoemaker, whose depleted inkhorn and sides of leather,
covered with Platt’s chirographic efforts, gave frequent proof
of his boyish zeal. Through the kindness of a lumberman he
secured his first sheet of paper from Catskill, twenty miles
away. The district schools which he attended furnished no
training of value to him in his beloved art.

His father, a Revolutionary soldier, died in 1806. In

* _

18 to the family removed to Jefferson, the county seat of

SPENCER:

AND WORKS.

864.

Ashtabula County, Ohio.

and the Spencer family are numbered amon
of. northern Ohio.

and young Platt, anxious to obtain an education, found it
necessary to walk thirty miles to secure an arithmetic.

He attended a school taught by Mr. Harvey Nettleton
in East Ashtabula. He was employed to
his fellow-students, and his genius for poetry began to
manifest itself in impromptu sonnets inspired by current
events.

In 1815, at fifteen years of age, he taught his first
writing class, in Kingsville, a few miles from Ashtabula,
and was so enthusiastic in his work that, without waitin
to collect the tuitions from his pupils, he hastened back to
Ashtabula, and organized and taught his second class.

From 1816 to 1821 he was employed as a clerk and
bookkeeper: first by Mr. Ensign of Conneaut, O., for a
brief period, and afterwards by Mr. Anan Harman in East
Ashtabula, whose business embraced farming, milling, dis¬
tilling, and general merchandising, lake transportation, and
a stao'e-line.

The country was new and wild,

the pioneers
Books were rare luxuries on the frontier,

set copies ” for

xin

peaVT r. SPONGER:

XlY

Young Spencer’s accounts and correspondence attracted i Brie, Pittsburg, Salem, Massilon, Warren, Cleveland, Paines-

social qualities and bril- ville, and Ashtabula.

general admiration, while his
liant talents made him a general favorite.

Among his notable pupils of this period was Hon. Victor

His employer sent him as supercargo of one of his M. Rice, who became associated with him in his publications
sailing vessels. On reaching port, her decks, rails, and in 1848.
cabins presented a

young supercargo, which attracted much admiring atten¬
tion.

was Superintendent of

chirographic display, the work of the Public Instruction^ for the State of New York for

many

years.

In 1837, Mr. Spencer was appointed Assessor of Ashtabula
In 1822-24, he studied law at Kingsville, under the di- County, rendering exceptionally faithful personal
rection of Samnel Wheeler and Roger W. Griswold, able His assessment list has been preserved as a model of hand¬
some, practical writing, done with a quill pen. His humorous
Following his natural bent, he became a teacher, and | description of the work closes seriously thus:
from 1824 to 1830 taught common schools and special writ-

service.

lawyers.

List List, O List! ’ we cry throughout the land,

Till Death, the Grand Assessor, comes to make the last demand,
When it shall be shown, and fully known beyond this mortal sphere,
Who loved their Country, God, and Truth, and made a true list here.

ft s

ing schools, in Ashtabula County, Ohio, and in Duchess,
Green, and Albany Counties, N. Y.; visiting, in 1825, the
city of New York. In these years he not only won unpre¬
cedented success in his special and favorite art, but gathered

In 1838, he was elected Treasurer of Ashtabula County,
laurels also as a public speaker, debater, and contributor to and held that office, except dunn

the press.

an interval of two years,
His exquisite penmanship, his pnblic spirit, ster-

till 1852.

In 1828, he married, in East Ashtabula, Persis Duty,

a ling integrity, and genial qualities rendered him a favorite
teacher, and a woman of rare nobility of character, whose official, and, had he consented, his fellow-citizens would prob-
iniluence essentially aided him in his mission as

teacher, | ably have retained him in the position many years longer.

Durinp- his term of service, as the duties of the office were

author, and man of business. He loved to attribute much

of his subsequent success in life to her kind, sympathetic, | not incessant, he found time to teach occasional classes in

penmanship, and he generally allowed a few ambitious young
men to practice writing in his office. Among them was James
Until 1836, he managed W. Lusk, who, with no natural aptitude for penmanship,

and summer, and by indomitable perseverance, under Mr. Spencer’s training,

the became a distinguished business writer and teacher. Eater,

1855, Mr. Eusk was one of the founders of the first of the
were Buffalo, I Bryant, Stratton, & Co. Business Colleges, and, still later,

and wise co-operation as a life companion.

In 1831, he located upon a farm in the township of
Geneva, Ohio, near Bake Erie.

and worked upon his farm in sprino-
taught his cherished art in autumn and winter in
principal cities and towns of northern Ohio, western Penn¬
sylvania, and New York. Among these places

SKETCH OH" DlDR AND WORKS-

He was assisted in His classes, at Home and abroad, by His
sons and daugHters. He would select from tHe number, one
and then another, to aid Him, and thus most of them were
initiated into tHe father’s work.

THe summer classes continued until 1863, except during an
interval of two years, in which He resided at Oberlin, O., to

give His children better educational
advantages. During His residence
in Oberlin He established a “Spen¬
cerian Writing Academy,” where
He instructed many young people,
among whom were some who be¬
came well known to fame.

Among the pupils of the Do
Seminary was H. D. Stratton,

afterwards celebrated as the chief

863, He became actively associated with P. R. Spen
& Sons in promoting the introduction of their penmanship

1858 to 1

publications in the schools of the country.

In 1852, Mr. Spencer purchased an institution in Pitts¬
burg, Pa., and established the first Spencerian Commercial

Of this College he was the principal; and his

College.

oldest son, Robert C. Spencer, and
oldest daughter, Sarah D. Spencer,
were prominent in the corps of

• •

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• *

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• • •

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►

• •

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* - 4

• •

teachers. The institution was
popular and well attended, but the
principal’s health becoming seri¬
ously impaired from too close
application to school work, he sold
it to Mr. Peter Duff. After this

• ♦

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♦ • *

Mr. Spencer sought the quiet and
rest of his farm at Geneva, Ohio,
where his family of sons and
daughters were growing up in the
old homestead.

A well-built log-cabin stood on
a farm which he had purchased
across the road from his own

home. He heightened the ceiling, lathed and plastered the
walls, put in' some large windows, furnished the interior
with blackboards, desks, tables, benches, and chairs, and
established here, in 1855, ^ Spencerian Dog Seminary (see
illustration on page 24). As stated in his circulars, it was
away from the pomp and din of city life,
summer months, came young men and women from all parts styled the
of the country, charmed by the magic of his genius and Colleges,
oing forth life-long devotees of the “art preservative of arts.

•.:l ::i’-

J-

Jii

►

•i 4

4 'I

< 1

♦

}

•<*<

:: n

• V

4 •

of the founders of the Bryant &
Stratton chain of Business Col-

Mr. Stratton became ac-

f M

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v: VS &

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rirsi;

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her

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leges.

quainted with the talented James

* JJ

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tt.

R«

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• • • *

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f •• ♦

Pill

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BQTOUOWm lit

• •

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W. Dusk, through Mr. Spencer,

The College Building in New York City, where Mr. Spencer's last Course

of Instruction was given, in 1864.

at the Dog Seminary, and they
there decided to open, in combina¬
tion with Mr. H. B. Bryant, the “Bryant, Dusk and Stratton
Business College,

Spencerian Business Colleges of the Spencer Brothers estab
lished in New York, Washington, Cleveland, and Milwaukee).
The second college was soon after established at Buffalo, N. Y.

Hither, in the Robert C. Spencer becoming a partner. They

Bryant, Spencer, Dusk & Stratton Business

From these institutions was extended the chain

of 40 links, in the United States and Canadas.

in Cleveland, O. (now one of the four

then both

were

In the

PLATT R.

XVI

establishment of the new colleges, Platt R. Spencer’s co¬
operation was secured, and, during the autumn and winter

he devoted much of his time to giving instruction

He was the Superin¬

seasons

in those rapidly growing institutions,
tendent of Penmanship for the entire u International Chain.

He took a deep interest in the humanitarian movements of

his day; was an earnest advocate of temperance, and active

champion of free schools and free

with voice and pen as a

men.

In the winter of 1864 he delivered, in the city of Brooklyn,
his last lecture; and gave, in the Bryant & Stratton Busi¬
ness College, in New York City, his last course of lessons.

The labors and cares of a busy life had undermined his
health, and he was at last forced to lay down his

not again to be taken up. His health continuing to

faithful

pen,

decline, and his malady proving beyond the skill of his
physicians, he passed away, at his home in Geneva, on the

16th of May, 1864, in the 64th year of his age.

His remains were laid in the beautiful cemetery at
Geneva, beside those of his beloved wife, who had died
two years before him. The monument which marks their
resting-place is thus described in the Geneva (O.) Times,

June 25, 1883:

The monument is a massive boulder of Vermont granite,

and, aside from the carving, there is not a mark of

the hammer, drill, or chisel upon it.

natural rock

On the face of the monument appears the familiar autograph of
P. R. Spencer, and below it a quill pen.
open book containing a brief record of ‘ two kindly, earnest, and
beneficent fives.’ The work upon the monument is very artistic, and
the design is exceedingly appropriate and expressive. The rough,

£ (

On the reverse side an

unhewn granite expresses the crude state of the art of writing at the
time Mr. Spencer began to develop his system, which is now well-
nigh universally used. The beautiful autograph symbolizes the ad¬
vancement of the art during Mr. Spencer’s lifetime,
thrown down indicates that he laid aside his work only when his
fife’s work was completed,
for all time to come. The massive granite, with its natural face,
rustic outlines, majestic proportions, and beautiful design, may be
said also to symbolize the fact that Mr. Spencer was one of nature’s

a man possessing great natural endowments, which, with¬
out the culture afforded by the schools, were developed into beauti¬
ful symmetry through his own indomitable will, perseverance, and

courage.

The quill pen

a work that will immortalize his name

noblemen

) J

PLATT R. SPENCER’S PUBLICATIONS ON PENMANSHIP.

Spencer & Rice’s System of Business and Ladies' Penman

£ (

I84.8.

; a graded set of copy-slips, with accompanying rules and

later published under the title, ‘ ‘ Spen-

ship

explanations. These were

Semi-Angular Penmanship.

7 1

1 )

cenan or

in a series of 13 copy-books.
Theoretical Guide to Spencerian or Semi-Angular Penman-

Spencerian System of XVntin

) 7

i l

r ° 55 -

Also

ship.

5 J

Spencerian System of Penmanships for Academies and Public

Also, “ Compendium of

copyrighted by P. R.

£ £

^ 57 -

Schools, in 6 numbers of copy-books.
Spencerian or Semi-Angular Penmanship

Spencer & Sons, containin
fac-simile from the author’s wntin

7 7

65 plates of Penmanship engraved

with instructions. Also, a
Correct Spencerian Position of Hand and Pen ,

£>J

c (

Chart, entitled

> J

with Explanations.

Spencerian System of Practical Penmanships i

Instructions on covers; freehand

in a

£ £

1858-59.

of 8 progressive copy-books.

A handsome, practical series.

copies.

1860—61—62—65.

Penmanship.

‘ Radies’ Senes, 2 numbers j Exercise Series, 2 numbers.

Revised Spencerian System of Practical Semi-Angular
Common School Series, 5 numbers ; Business Series,

£ £

7 >

SKRTGH OR LIFE} AND WORKS.

xvn

SPENCERIAN PUBLICATIONS BY P. R. SPENCER’S SONS.

1879-80-81-82-83-8^-85.

Parts I., II., HI., iv., y,, vx

i (

New Spencerian Compendium of Pen-

VII., VIII., each con-

this completed

manship ,

taining nine plates, all of ’which are embraced i

} 1

work, in book form.

1884 - 85 .

< l

Spencers' New Copy-Books

} }

embracing School Series, Nos.
3, 4, 5 and 6; Business Series, Nos. 7 and 8; Ra¬
dies’ Series, Nos. 9 and 10. Writing and instructions simplified.
Hand-Chart and Movement Exercises

1, iA, 2, 2A,

1864. 1 ‘ Spencerici7i System of Practical Penmanship ,” in 12 Numbers, 4

distinct Series, New Standard Edition ; all Copy-Books. Also,
Spencerian Charts of Writing

and Drazving, Nos. 1, 2, 3,

4 > 5 > 6 .

1866. ‘ ‘ Spencerian Key to Practi¬
cal Penmanship." A manual
of instructions, with copi¬
ous illustrations; for adepts,
teachers, and pupils.

1873. “ Shorter Course in Spen-

on covers.

( (

New Standard Practical Penmanship

1885.

} l

Business College Edi¬
tion; simple, rapid, practical. A

complete set of copy-slips, with
ample illustrations of position,
pen-holdin

and movements.

The Spencer authors,

have been assisted from

time to time, in the arran
ment and gradin

books for schools, by expe¬
rienced teachers.

o-e-

of copy-

cerian Penmanship. ’ ’ Copy-
Books, in 3 Graded Numbers.
Also

Tracing-Book, Spen¬
cerian Penmanship " ; also,

l 1

Among

these, Mr. M. D. L. Hayes,

the enthusiastic and suc¬
cessful general agent for

the Spencerian publications,
from 1864 to 1875, is enti¬
tled to special mention, in
connection with the

of larger copy-books; also Mr. George H. Shattuck, his

successor in the agency, for valuable suggestions in the
preparation of New Shorter Course Copy-books.

The elder Spencer Brothers gratefully acknowledge their
appreciation of the devotion of their younger brother, Lyman

Spencerian System of Pen¬
manship" ; large Copy-Books
embracing Common School

i i

Series Nos. 1,

3 > 4 > 4 /A 5 >

and 6.

Business Office of Messrs. Ivison, Blakeman & Co., Publishers of the Spencerian Works, at 753

and 755 Broadway, New York.

Theory of Spencerian
Penmanship" ; an illustrated

■1874 .

hand-book of instruction for teachers and pupils.
Charts of Writing, 47 pages or leaves, presentin
of letters and figures, with explanations.

7 877 . New Graded Seines ,

System of Penmanship .

Also, Spencerian
magnified forms

> >

in 7 Numbers;

Also,

Shorter Course , Spen-
Tm cing- Books ,

1 l

cerian

j >

} 3

1. 2

3 ?

and 4.

SKEjTGH OF" UF"E> AND WORKS.

XVIII

P. Spencer, to the execution of this work, the
dium of Spencerian Penmanship .

New works and revisions of former works will be prepared
by P. R. Spencer’s sons as required to meet just demands of
the public.

New Compen-

C L

Platt R. Spencer, studying the lines of beauty as drawn by the

Rand of nature, wrought out that system of penmanship which is now
the pride of our country and the model of our schools.

7 }

Garfield was a lover of art in all its departments,
penmanship he was a

Spencerian pupil, and he wrote well.
At one time he taught the art, and found in it a means
educational address of sustaining himself, while pursuing academic studies.

NATURE HIS TEACHER.

James A. Garfield, in 1869, i n an

to the students of the Spencerian Business College of Wash¬
ington, D. C., speaking of the origin of Spencerian penman- I adept teacher who

acquired the system from Spencerian publications and

a pupil of P. R. Spencer.

was

ship, said:

- ^

■ ■■■••a " J

■

v »

■

• •

VRITIN

PRAGTIGAn

WRfTIMG.

The subject of Practical Penmansbip is presented by | the columns of the “Penman’s Art Journal,
the first eleven plates in the body of the Compendium. Of
these, the first offers a gen¬
eral view of the standard
Letters and Figures with
their proportions and analy¬
sis, while the remaining ten
contain a Graded Series of
Copies designed for Business
Colleges and home instruc¬
tion. In connection with
those copies when first is¬
sued, a Course of Instruc¬
tions was prepared by the
Spencer Brothers and pub¬
lished in monthly parts — a
Lesson for each month — in

The Course

was so favorably received that it has been thought best to

reproduce it here in

con¬
nected form and substan¬
tially as first issued,
instructions given with each
lesson are much the same
as an experienced and ear¬
nest teacher would present
before his class in connec¬
tion with the same copies;
and it is believed will prove
more interesting and profita¬
ble than any mere routine
statement of the subject,
however methodical and sys¬
tematic.

The

WESSONS IN PRACTICAL WRITING.

WHO CAN LEARN TO WRITE.

in our public and private schools, with the aid of systematized copy-books
and charts, are doing better teaching than formerly.

The business colleges of the United States, with their skilled, able,
and energetic teachers of penmanship, are annually training up thousands
of elegant writers ; also teaching them how to apply their skill in eorre-

and the practical affairs of life. The influence
also of the Penmen’s papers in diffusing more widely a knowledge of the
useful and beautiful in the art must not be overlooked. The great
increase in the number of good writers is, in fact, a part of the general
progress of our times. The good work must be carried forward.

HERB are many sensible people who cling to the
^ notion which has descended through many gen¬
erations, that penmen, like poets, “are born, not

made.” But it is not likely that there are many spondence, book-keepin
j who hold to a notion so absurd among those who

will seek to profit by these lessons. We do not,
f of course, deny that individuals differ in natural aptitude for
learning writing, as they do in their capacities for learning
other practical arts; but we do know that there is nothing
connected with the successful acquirement of the twenty-six

standard script capitals, and the twenty-six small letters with
their proper combinations, that is necessarily beyond the capacity of
sensible persons. Our conviction on this point, based upon long expe¬
rience and extended observation, is formulated thus : any person who has
good common sense , one or two eyes , and Jive fingers on either hand , can ,
under proper instruction , team to write well .

We believe there is a steady

GOOD WRITING SHOULD BECOME UNIVERSAL. .

We may property appeal to various

MOTIVES FOR LEARNING PENMANSHIP,

INCREASE OF GOOD WRITERS.

There is a real

and stimulate them by appropriate considerations,
pleasure to be derived from the study of symmetrical handwriting:

We meet ten good writers now where but one could be found twenty
years ago. The more general introduction in our country of a recognized

by it brings into delightful activity and consequent development the facul-

Then there

standard of penmanship, and methods of instruction and trainin

which learners are enabled to approximate to that standard, has largely ties of form, size, order, constructiveness, and comparison.

satisfaction in skill of hand. Hand-work is brain-work brought

down and expressed in visible forms through nerve and muscle.

increased the number of good writers in proportion to the whole pop- is a
ulation. There are other agencies which should be mentioned. Teachers

The

Pfi^AGTlGAL

complimentary approval of one’s skill by relatives, friends, and acquaint¬
ances is no slight incentive to the mastery of the pen. Again, there

are the

PECUNIARY ADVANTAGES

which good handwriting secures, especially to those who are just enterin
busy life, upon their own responsibility. As our civilization advances,
competition in every department of business activity becomes sharper
and closer. For every business position now offered there are crowds
of eager competing applicants, each striving to secure the preference.
Competitors for places usually first become known to employers through
their letters, which are read and compared. Other qualifications being
satisfactory, the advantages which a superior handwriting secures to an
applicant are clearly evident. The possessor of such a handwriting wins
and rises where others, deficient, fail .and fall.

Practical chirography, as all know, not only secures paying positions,
but helps to

PROMOTION AND ADVANCEMENT.

The reason is, because a man’s measure in dollars and cents is his
ability to do, —to perform useful service to others. In this view, the pos¬
sessor of a legible, rapid, elegant handwriting may be justly estimated
having from thirty to forty per cent, advantage over his competitors.

The ready penman, other points considered equal, is, therefore, not
only the successful candidate for business positions and promotions, but
he commands a higher salary because of his more valuable

THE COURSE OF LESSONS

which we are entering upon null be in accordance with those principles

which are fundamental in the system originated by Platt R. Spencer, —

those principles which took hold upon the minds of such men as Victor

M. Rice, James W. Tusk, E. G. Folsom, Wm. P. Cooper, John Gundry,

Geo. W. Eastman, and many others we might name, distinguished among
his earlier followers with the pen.

rise to the present American school of skilled penmen, of which our
country may be justly proud.

The Instructions to oiu pupils who are to take this course of
lessons must be carefully studied, cheerfully and persevennglv practiced.
Each lesson should be thoroughly mastered,
labor,” remember.

services.

Those principles have, in fact, given

No excellence without

WRITING.

PREPARATORY LESSON.

IRST, will you please write

of your handwriting. Please do this without looking at any copy.
We suggest the following matter as suitable : —

Specimen of my plain penmanship ; alphabet of small letters, a, b
etc. ; alphabet of capital letters, A, B } C, etc. ; the figures
nine ; the following verse :

sample showing the present condition

2, lip to

“The pen, the pen, the brave old pen,

Which stamped our thoughts of yore,

Through its bold tracings oft
Our thoughts still freshly pour.”

Next your name and the date of writing.

Preserve your Specimen, and as 3^ou go forward in } r our course

try it over again and again, aiming to improve each and every letter,
word, and figure.

to note your improvement as shown in your correspondence and other
chirographic work.

a earn

occasion

MATERIAL FOR WRITING

should consist of foolscap paper, of good quality, ruled medium width
(three-eighths of an inch between fines) ; steel pens that will make clean
strokes, and that have sufficient flexibility to shade small f's and p's;
ink that is clean, flows freely, and has a distinct black or blue shade as
it flows from the pen. Keep the ink corked when not in use.. A piece
of blotting-paper and a pen-wiper may be added to the outfit. These
articles should at all times be in order for use.

The pages written in practice upon each of the lessons ought to be
dated, properly numbered, and preserved throughout the course. One
is more likely to do well that which he intends to preserve. Aimless
scribbling, which one hastens to throw into the waste-basket, is a positive
injury; it engenders bad habits of mind and hand, and is a waste of
precious time and valuable material.

PF(Ad>Tl<3 A

After preparin

your specimen as above suggested, take up first

the

SCRIPT ALPHABETS,

giveu on right half of Plate 2. These are to be used in thi s lesson
models for imitative practice. Kach learner has, in greater or less degree,
the faculty of imitation ; and by the exercise of this faculty upon the
full alphabets, with some study, au important advance-step may be im¬
mediately gained, and the student enabled to incorporate into his hand¬
writing the standard forms of letters in their general features, from the
beginning of his course, and not be left for a considerable period of time
with a mixed and heterogenious hand, composed of letters old and
in constantly varying proportions.

new

HOW TO PRACTICE.

your owu usual position for writing (we do not teach position

the alphabet before you for a cop3 r ; hold 3^our pen
about one-sixteenth of an inch above the first letter, a , and form it in

at this stage); brin

the air, counting the strokes consecutively,

then close your eyes and make the letter in the air from the model
with your “mind’s eve

one, two, three, four, five ;

; this fixes the form upon the mental tablet.

Now transfer from mind

We designate the process mental photography.

to paper; and as you write count your strokes, to secure regularity of
movement, also to make sure that no strokes are omitted.

Write the a

as many times as it contains strokes ; then take the b in the same man¬
ner, and persevere with this method of practice until you have done nil
the small and capital letters.

AIDS TO PRACTICE.

If you do not succeed iu malting 3> - our letters the same size as the

copy, with ruler and pencil, rule hues to regulate heights and lengths
as shown by the cop3 r of alphabets.

Such ruling forms

having six fines and five equal spaces, each space being one-ninth of
inch in height.

l (

writing scale ,

A correctly ruled scale will be found an excellent aid
to the ambitious learner, who will be guided by the lines and
he proceeds with his practice upon the standard letters.

If 3' - ou find that you do not get your letters upon the same slant
as the copy, guide-hues may be ruled upon your page to regulate slant.

WF^ITINQ.

This can be done by placin

your paper so that its upper or top edge
will be even with the lower fine of the scale of small letters in your copy ;

then, placing one end of your ruler with its edge adjusted to the slant
of the b ) d, or and projectin

down upon 3 r our writin

CT-

page, you can

rule a long line on correct slant by the left edge of the ruler; then

another by the right edge, and, moving the ruler to the right once its
width for each slant-line, continue rulin

until the

page is prepared,
will regulate the slant of the body strokes of the

These ‘ ‘ slant-guides
letters.

7 7

If the learner will go over the alphabets again and again with

writing-scale,’’ the “slant-guides,
tography,’’ together with counting strokes, until the forms of the letters

the aid of the

L <

7 »

and ‘ ‘ mental pho-

are familiar to

eye and hand, he will surely make great

progress in

practical writing.

LESSON I.

POSITION FOR WRITING.

N choosing a position for w^ritin
be secured ; viz.

Light from above, over the left shoulder, is considered the most
desirable. A front fight, if not too low or too bright

fights tend to injure the eyes. Light from the right produces trouble¬
some shadows.

Healthfulness of position requires that there shall be no disturbance
of the full natural action of the lungs, heart, and digestive
Therefore bending the back outward, throwing the shoulders forward,
hollowing the chest, and compressing the abdomen, should not be
indulged in.

Convenience requires that the writing-page be in front of the face,
that the writer incline forward (the body bending only at the hips) just
enough to focus the sight, that letters and words may be distinctly seen
without straining the eyes. Convenience also requires that the right
arm and hand be kept free for movement. Hence, throwing the weight
of the body upon the arms, pressing them down upon the desk, and
holding the pen with a hard grasp, must be avoided.

three advantages should, if possible
ood fight, healthfulness, convenience.

is good. Cross

orsrans.

PRAGTlGAR WRITING.

Fig. 2 strikingly contrasts the right and wrong writing position.
Study the picture attentively.

Fig. 3 shows the front position for writing, as viewed from the front,
and the young man sitting upon the right in Fig. 2 illustrates the same
position as seen from the side. Fig. 4 presents a view of the arms, hands,
and paper from above, giving a clear idea of their positions relative

position, which is akin to that which we are accustomed to
the table for social purposes and when partakin
one we propose to teach in this course of lessons.

The student will, therefore, please to assume this position
relates to the

occupy at
of our meals, is the

so far as

eneral attitude of the body, and, in order to secure
correct position of hand and pen, go through with the following drill.

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FIG. 2.

Correct and incorrect position at the table in writing*.

to each other and

to the table, the edge of the latter bein

DRILL.

repre-

sen ted by the long horizontal line.
There

Attention.

Place your pen upon the desk about a foot and a half
from the edge, opposite your left shoulder,
upon the desk, the top of the page in front of your face.

aie several other positions, adapted to varying - circumstances
^d they will be explained

Place your paper obliquely

We wish you

and illustrated further on: but the front

PR AGTlG A

to learn the front position.

After learning this you can easily assume
either of the others at any time, if for any reason you should desire to

do so.

Now see that you are directly
facing the desk, near to but not lean¬
ing against it; place feet level on the
floor, drawn slightly back to bring
insteps vertically under the knees.

" A ,

\ IT S i

See Fig.

5. Elevate your hands

»«

rrt

in front, as shown in the cut, about
six inches above the

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paper.

See Fig. 6. Drop arms and hands

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lightly upon paper and desk, palms
down, as in cut.

See Fig. 7. Hands half closed, the
right resting on the tips of the finger¬
nails.

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FIG. 3.

Front position, front view.

See Fig. 8.

Extend first and sec¬
ond fingers and thumb of right hand, holding them together, as shown

m cut. Now slide the hand right and left on tips of nails of third and
fourth fingers, moving it by power of fore-arm actin
center forward of the elbow. This is the fore-arm movement.

on its muscular

PENHOLDINC.

Fig. 9. The right hand must be in position on the paper to receive the
pen from its servant, the left hand. Now lift 3^our pen from desk by the
top of the holder, with first and second fingers and thumb of left haud;

WRITINQ.

convejr it to the right-hand, placing it across the second finger at the root
of the nail, and passing it under the first finger, crossin

of the knuckle joint; close the thumb in on the left, pressing its end
lightly on the holder opposite the lower joint of the fore-finger.

it just forward

In this

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FIG. 8.

position, slide the hand right and left, dictating either mentally or audibly

etc., observing the correct position and

left

right,

M i i

T ) < 1

left

( c

j J u

? J

the action of the fore-arm and hand.

With the left hand hold the paper

in place, approximatively parallel to the right fore-arm. Keep the wrist
of the risrht hand above the

paper. Continue this gliding motion of
hand, right and left, until sure that you have the correct position and
can keep it. You will then be ready for

Copy i (Plate 3, Lesson /.) It consists of eight horizontal straight
lines, in length equal to half the width of a foolscap page. Make the

lines from left to right, counting regularly, one, two, three, four, five, six,
seven, eight, and repeat. Each group of eight strokes, properly spaced,
will fill the space between two ruled lines. What movement should ) r ou
employ in making these? Fore-arm as the governing movement. Do not
permit your hand to roll to the right, nor the wrist to touch the paper.
Continue the exercise until yon can make the strokes easily and well,
holding the pen correctl} r . Be alert, critical, resolute, persevering.

Copy 2 {Plate 3, Lesson /.) It comprises eight horizontal stroke scon-
nected at ends by short turns. Use mainly the fore-arm movement, right
and left. Count strokes regularly. Move promptly. Gradually increase
your speed. Make strokes smoothly and uniformly.

Seek to make the

PRACTICAL,

correct position comfortable and eas}u This pendular exercise will be
found beneficial at any time. Its frequent use will correct nervous tremor
of arm and hand, and cultivate a; nice sense of touch in writing.

Cop\

slanting straight line,

It will appear,

letters of the alphabet. Trace this copy first with tip of penholder with
the fore-arm movement, restraining all separate action of the fingers. Dic¬
tate to your hand thus : Glide, one; glide, two ; glide, three. Repeat.
This copy, 3, has four sections. The first contains three down-strokes ;
the second, six ; and so on. Trace and write each section, keeping to

(Plate j, Lesson /.) Here, following the horizontal, we have the

the bod3 r -stroke, so called, of the small letters,
we proceed, in twenty-two out of the twenty-six small

7 n

proper position. Criticise your work in respect to regularity of height and

After thorough practice with fore-arin movement, you may in-

spacing.

troduce subordinate finger movements on the down-strokes in alternation

with the fore-arm.

MOVEMENTS DEFINED.

The Whole-arm Movement, used in flourishing and in striking
large capitals, consists in the action of the whole arm from the shoulder,
with the elbow raised.

The Fore-arm Movement is a modification of the whole-arm move¬

ment, the full muscle of the fore-arm forming the centre of motion, the
hand glidin

on the nails of the third and fourth fingers.

Its use is illus-

trated in Exercise

i. *

The Finger Movement consists in the action of the first and second
fingers and thumb.

This movement alone is inadequate for practical

• a

writing. It is used in Exercise 2, and in the downward strokes of the

other exercises, aided by the fore

-arm.

The Combined Movement includes the sweep of the fore-ann move
ment and the shaping power of the finger movement.

movement for free writing-.

c5 *

The pupil cannot dwell too persevering^ upon the exercises in position

Those who really master these first lessons have .very

httle difficulty in mastering the lessons which follow in regular order.
Copy

This is the true

and

movement.

4 (.Plate j, Lesson /.) This is given more for stud}^ than for
Practice, however, should not be omitted.

practice.

tight

The straight line ,

They are the

and left curve are the elements of letters,
material to be used in forming letters.

curve ,

WRITING.

Observe the dotted square, with its height and width divided into three
equal spaces. Carefully make such a square, then, passing two and one-
third spaces on upper side to right of the left vertical, make a point; from
this draw down a slanting straight line to base of the vertical,
will form an angle of fifty-two degrees with base fine, and is on what is
called the main slant of writing.

Practice the slanting straight lines, first, with fore-ann movement, not
permitting any separate action of the fingers. The strokes should be
made regularly from top downward. Motion may be regulated by count¬
ing. After the fore-arm drill, allow first and second fingers and thumb,
and the action of the wrist to attend and co-operate with fore-arm, pro¬
ducing combined movement.

Study the Curves. —See how, by the aid of the dotted squares, the
connective slajit of thirty degrees (one-third of a right angle) is secured.
Practice the curved strokes, making them from base upward. Try them
with fore-ann movement, then with combined movement. Maintain cor¬
rect position , study, practice , criticise your efforts , if you would become
master of the pen.

This line

LESSON II.

I can write better in my old position than I can in

Is it reasonable to expect that a habit of years
will at once give place to a new one ? Certainly not. To break up the

i i

PUPIL says,

the con-ect oue.

J J

FIG. io.

Correct position for pen in holding

right side of hand.

old cramped position requires pluck,
will ;

Let the pupil say,
let him practice in such a spirit, and he will win.

I can and I

( i

J 5

PRAGTIG Air

Those who have studied and practiced Lesson I. are prepared for
Lesson II., which again introduces drill in position and movement.

The soldier is drilled in the manual of arms to fit him for destroying

life; the writer should be drilled in The Manual of the Pen that he

may be qualified to do those things which sustain, enrich, and prolon
life.

MANUAL OF THE PEN.

Attention — Writers. Face desk. (Sit near the desk, but do not

press against it; feet level on the floor.)

Place—Paper. (Obliquely on the desk, lower left corner on a fine
with right side of body; upper left corner opposite middle of chest.)

Arms and Hands — Front. (Elevated about six inches above the
paper; tips of fore-fingers touching, at right angles; elbows on a line
with front of body.

Arms and Hands—Down. (Muscles of fore-arms resting on edge of

the desk; palms of hands down; and balls of fingers and thumbs resting

••

on paper.)

Hands — Half closed. (Tips of finger-nails touching the paper;
wrists slightly elevated; arms resting on the f ull part of the muscles
midwa3 r between elbow and wrist.)

Right-hand — Slide light, left, right, left, right, left, right, left.
(Slide on tips of finger-nails, the whole hand moved by the fore-arm
acting upon its muscular rest.) This is called fore-arm movement.

First and Second Fingers and Thumb — Extend (as in hold¬
ing a pen or pencil, the hand resting only upon the nails of third and
fourth fingers). Again, Slide — right, left, right, left, right, left, right,
left. (Hold hand level, the back facing ceiling above.)

Left hand — Carry Pen — To Right hand. (Keep right hand in
position to receive pen; convey pen by tip of holder, placing it across

second finger at the root of nail, and, passing it under first finger, let it

cross just forward of knuckle joint; close thumb in on the left, its end
pressing the holder hghtly, opposite the lower joint of first finger.)
Again, slide right, left, right, left, right, left, right, left. (Hold paper
to place with left hand ; maintain the correct position durin

the ex-

Tracing the copy is an exercise that will be required, more or less, as
we proceed; and for that purpose we prefer to use a penholder that has

WRlTlNC^.

been sharpened to a point, like

better for tracing than the point of a pen, because it is not so liable to
deface the copy.

If you have the upper end of your penholder sharpened, you
ready for —

pencil. The pointed wooden holder is

are now

Copy i (.Plate j, Lesson II.) Examine the first form in this copy;
observe the arrow indicating the first course of the pen.

position to' trace this form hghtly with the tip of the penholder ; the
whole hand is to move

Take correct

no separate action of fingers in this exercise.

Right curve, connective slant;

Dictate your strokes as you trace:

i i

3 7

( i

straight fine, main slant;

back.

7 3 U

7 3

Repeat several times. Trace in

a si m ilar manner each of the movement-exercises in the copy.

Counting

one, two, three, etc., may be resorted to for the purpose of securing regu¬
larity of motion. After tracin

write the forms on paper with pen and
Observe that they are the height of the space between the ruled

to>

ink.'

lines, — a ruled space.

The pupil may profitably dwell on the forms

repeating the strokes until they begin to blot.

Copy 2 (Plate 3, Lesson II.) What letters are introduced in this copy?
Make them in the air.

Trace the copy with pointed penholder

, naming
right curve, connective slant;

the strokes in order,- thus: For small i

( <

straight hue, main slant; right curve, connective slant, dot
above.

one space

right curve, connective slant; straight fine, main

For small u

< L

3 J

slant; right curve, connective slant; straight fine, main slant; right curve,
connective slant.

For small a/, name four strokes as in u, and add,

J 7

right curve, one-half space to right; dot; horizontal right curve,
tracing, make the whole hand slide to the right on each connective

i L

? 7

curve.

Before writing the letters with ink, let us determine the size we are to

write.

At the right end of Copy 2, the ruling of yourjjaper (three-eighths of
an inch between lines) is indicated by short horizontal fines.

A dot appears just below the upper stroke, one ninth of the ruled
space from it. The whole space between this upper dot and the lower
horizontal stroke or base fine we will designate the writing-space; this
is divided into three equal spaces by two dots, and the lower of these
we will call the i-space, which is one-ninth of an inch. Our short letters
in the medium hand , which is the size of the copy, are written an i-space

PRACJTIGAL,

The i-space is the unit for the measurement of letters in

height.

height and length.

between the ruled lines on your paper carefully, as shown

m copy.

Take correct position and write the letters with ink.
with the regularity of ordinary counting.

heavily, and stick in one place, on

it slightly sidewise to the right in making the connective curves.

Pen fingers may co-operate with forearm in shaping the strokes,
movement is called combined movement.

Criticise your Letters. — Are you making right curves? None
other are proper to these letters. Are your letters just one-third of the
writing-space? Are the angular joinings made at top? If below top

Have you made right-side parts of z, zz, w shorter than

Make the strokes
Do not allow your hand to rest
the paper while forming a letter, but

move

Such

correct them.

left-side ? If so, bring them up. Are the turns at base too broad ? Make
them short as possible without stopping. Have you made the width-
spaces in z, u, and first half of w, equal? They should be equal; as in¬
dicated by the slanting dotted fines upon Fig. n.

-v

FIG. ii.

Practice, criticise, correct your position frequently;
making curves to the right.

slide hand in

Again, you are earnestly cautioned against turning your hand over to
the right, restin

its side, on the paper, and thus obstructing its progress
across the page. Perhaps you roll your hand because you forget the
correct position while attending to the forms of the letters.

£5

If such is the

>ou may put something on the back of your hand as an indicator
to remind you when your hand is not level.

The picture of hand-and

-pen, Fig.

io, shows a pasteboard button

placed

on the knuckle between first and second fingers.

paper about three-fourths of an inch

A bit of

square, or, if circular,

an inch in diameter, may be used instead’ for
When you roll your hand too far to right, the indicator will

about three-fourths of
indicator.

W^ITINQ.

slide off, and thus remind you to hold it level. Do not use any metal
or other material, for this purpose, that will make a noise when it
falls.

Copy 3 (Plate j, Lesson IIP) This is our first exercise in joining let¬
ters. It is the equivalent of writing words.

The u-space, or the distance between the straight fines of zz, is the one
referred to in the statement over the copy,—that the distance between
letters is one and one-fourth spaces.

The u-space is the unit of measure for the widths of the letters and
spaces between.

Trace Copy 3 with top of penholder, counting regularly one, two,
three, four; one, two, three, four; etc. After tracing, write the same
with ink, until you can form and join zz’s and w 's regularly in height,
width, and spacing. Remember, you must join letters by a sliding
movement of the hand, it being carried forward by the power of the
forearm, and without lifting the pen.

While passing through the somewhat trying ordeal of maintaining the
correct writing-position, make the left-hand, in addition to its Usual duty
of paper-holder, act as servant of the right-hand, by taking the pen and
dipping it into the ink and returning it to place in the right hand. The
advantage of this is obvious, until correct penholding becomes a fixed
habit.

Referring again to the picture of the haud-and-peu at the beginnin
of this lesson, you may observe a ball represented in the palm of the
hand. It is The Zephyr Ball, about one and three-fourths inches in
diameter, fight, soft, and flexible.

The ball is a very good reminder of the proper position of the third
and fourth fingers. It does not interfere with the action of the hand. It
may be profitably used by any one who is endeavoring to secure the
correct position.

Directions for Making the Zephyr Ball.

of soft woolen yarn on a piece of stiff cardboard, one and one-half inches
in width; then draw the cardboard out and tie the roll of yarn exactly in
its middle, and firmly, with a strong cord ; cut the closed ends of the yarn,
and you have a fluffy ball the proper size for use in practicing writing.

The pasteboard butto?i is so simple an article that directions for mak¬
ing it are needless.

Wind a half-ounce

PRACTICAL, WRITANQ.

I 2

ures, and a sentence; and then, using the left hand and pen, cover the
lines of the penciled work with ink, adopting the same manner of holding
the pen and the same movements as are common to the right hand and
arm.

The cuts of the hand-and-pen, exhibited with this and the preceding
lesson, should be carefully studied by the student, as teaching correct
penholding for either hand, also position of the forearm. The analysis
of the illustrations is as follows:

(A) Pen crosses the forefinger, just forward of the knuckle joint.

(A) Pen crosses the second finger, obliquely, at the root of the

nail.

Correct position for hand and pen, left-side view.

FIG. 12.

(C) Point of pen square on the paper, thus producing smooth strokes.
(A) Tip of penholder pointing over right shoulder, indicating level
position of hand.

(A) End of thumb opposite first joint of forefinger.

(A) Movable rest of the hand on the nails of the third and fourth

fingers.

(A) The wrist, level, above the table.

The forearm rests upon the full muscle, between elbow and wrist.
The pen may be transferred from one hand to the other, in correct
position for use, until both are trained in holding it correctly and easily.
The paper should be placed under the left hand and arm in the same
relative position as under the right, to secure proper slant of the letters.

The same slant should obtain in writing with either hand as a result
of corresponding positions and movements.

A Brief Study and Careful Practice of the copies of this lesson,

to illustrate movements, single letters, short words, and extended

uidance to the direct mastery of chiro¬
graphic art is intended b}^ methods fully tested and found to lead to
good writing.

Ameidextrous Writing has advantages, which learners may profit¬
ably avail themselves of, not onty practically, but as an educational need.
We see with both eyes, hear with both ears, walk on both feet, and
there are many excellent reasons why both hands should be trained for

writing.

One need of such training arises from the liability of either hand
becoming maimed, or, from over-use, losing its power to wield the pen.
The latter condition is commonly known as the penman’s paralysis, and

frequently afflicts those using the pencil than those who use the

N this series of lessons

pen.

It is taught by physiologists that the left half of the brain controls the

movements of the right hand, and the right half governs the movements

of the left hand. The duality of the brain forces and the nervous system combinations, will prove beneficial to learners.

Copy i {Plate j, Lesson III.) presents an exercise of horizontal ovals,

Riven

is not a question of doubt; and it is fair to conclude that ambidextrous

writing c alls into action alternately both lobes of the brain, equalizin

the power of the mind in the direction and government of both hands.

Even the initiatory effort to write with the left hand increases the power
of the will in its supremacy over the muscles, as may readily be perceived The manner of uniting the left curve by a short turn at the top to the

slanting straight fine should be carefully observed, and the point

the down with the up

straight lines, and waved and straight-line
The ovals should be executed with the forearm move-

bisected with left curves

combinations.

and the lines Inside of them with the forearm and finger combined.

ment,

by the greater ease and freedom with which the right hand is made to

acute apgle at base be formed without retracin

execute when it resumes the use of the pen.

An Easy Way to train the left hand to equal s kil l with its colleague stroke,
is to produce correctly, with pencil in the right hand, the alphabets, fi

In the second oval, the straight lines are united by right and left

cr-

PRACTICAL

WRITINQ.

curves, with short turns at top and base,
several times before passin

preceding lessons, the writer should lightly trace copies first with
wooden point or stylus, adapting position and
in the copy.

Repeat the strokes of the ovals

bined in extended

Join the letters with sliding
carry the hand through from the beginning

tion with easy, flexible action, without liftin
Observe carefully the

groups.

to the lesser forms of the exercise. As in

movement, and
to the end of each combina-

the pen.

movements to the forms

proper use of waved lines between
uni, and similar examples, remembering that the

feature of legibility essential

the letters
correct use of this

of in,
line is a

Cop\ 2 (Plate 3, Lesson III.) gives the short letters

n , m. v , x

to good writing.

dependent upon the straight hue, right and left

1st, 2d, and 3d principles or principal parts of letters,
with the quantifyin

curves, known as the

In connection

of forms, the learner should note that small

•O-y'O**

m has

The height of these letters i
is thiee spaces in width j the m four spaces

seven parts, while n has but five, etc.

one-ninth of an inch ■ the

LESSON

IV.

T HE zephyr ball and pasteboard button

must not be relied upon solely to secure the

suggested

in Lesson II.,

• • 0 - , V

• v* *

' ‘ T ? . .

* T

V 4 1

* " *2 - -

correct writing-posi-

as friendly aids to mind and hand,
given in the second lesson, for disci

* * * *

< *

ft I

tion ; let them rather be considered

The Manual of the Pen,

pline of body, arms, and hands, should

FIG. 13.

includin

now be

the connecting lines *

gone through faithfully

v measures one-half

space at the top
Eig. 13 above makes the width

The turns and acute

bringin

the writer in proper position.

Copy i, Movement Exercise (Plate

be traced with, the pointed tip of penholder

between the second and third strokes.

V Lesson IV.), which is first to

measurement more apparent than. on the plate,
angles in the three letters first named

counting strokes promptly,

are the same as taught iu the ex¬
given is fonned without the

3 ; throughout the combination. Keep wide awake super¬
vision of ann and hand, employing combined movement in forming and
joining the 0 s, and the forearm movement i

2, 3; r. 2

ercise, Cop} r
straight fine. Four

The style of

T .

use of the

curves enter into its formation, the first of which is
a left curve joined with a short turn to a slight right curve, formir,

eft half of the letter; the right side is composed of a gentle left
joined in a short turn at the base to a right curve.

fifty-two degrees should be given, not only to the letters in this lesson,

to the plain business styles given in the
None of the short letters so far given are shaded.

3 ( Plate 3, Lesson IU.) unites the letters

The waved line
writing the last two letters i
letters in words is

making the three compound

the

right, left, and right.

sweeps,

curve

The main slant of

but to all letters

correspondin

course of lessons.
Copy

combinations.

of Copy 2 in short
or double-curve must be observed in
vim, and nux .

. ; vA-
V.w.vfr

•ft ft % Ift** 1 *

- * .

* * “

V fft% 4

' lut .4 • %

V\%\ «* ft %

ft •

tar

*»

. # • •

V*Av

Mft* V
% 1 % ft % • '

• • ••

% -

•»- •

. 1 -

• •

ft •

• f

* ^

■J

v:.N;

• *...

•41*4•*

S **»*«'L c

w.V.VY-

avvA-

TvV.\* 4 *

•' .AV *

• K k* 1 .*

m nun

one and one-fourth

The distance between

VvSv'WvO'./*-

* '/PIP

y/ssp/Jii ,; i s*r AvfrV •

• v • V

r'"

)

- ft ft % *4 # ft^f s

V.4

»» . V'
4 4

•#

ft*

• ft

• /

• V % ft’

• t' i

ft*

ft • I i

% ft t

••

;>V-

v .*

«*

. 4' * v

# •

Vf- v

spaces.

comparisons should not only be made
parts in letters, but also in words and sentences, i

Nun is formed with thirteen strokes of the
liue is a waved line.

' r* .

■

Numerical

as - to number of
m elementary works,
pen; the ninth stroke

FIG. 14.

Correct position for arm, hand, and

pen, showing arm-rest.

Copy

4 (Plate 3, Lesson IIP) represents the letters

Next, practice this copy freely with pen and ink.

z, n, u , com-

)

PRACTICAL

14-

THE PICTURE OF THE NAKED ARM.

Keep a well-balanced position, as shown by Fig. 14, with a little more
weight upon the muscular rest of the forearm at H than upon the nails
of the third and fourth fingers at F.

The forearm, acting upon its flexible muscular rest, moves the hand
laterally from side to side, while the first and second fingers and thumb
co-operate subordinately in articulating the letters in rapid succession.
The further use of the forearm will be shown in subsequent lessons.

The Thumb. — The copy of 0’s, with its other advantages, affords an
excellent opportunity to exercise the thumb. The right side of the small
can be made nicely by a slight projective movement of the thumb,
giving beneficial action to both its joints. Try this.

Copy 2 (.Plate Lesson IV !) These letters require attentive study.
The exact forms must be impressed upon your mental tablet before you
can produce them upon the fair, white paper. An excellent method by
which to gain a clear conception of the letters was presented in, our
preparatory lesson. We call it ‘‘Mental Photography.” Try it. Fix
yonr attention on the first letter in the copy, — the 0, — and make it in
the air like the copy, only larger, counting the strokes, thus, 1, 2, 3, 4 ;
or naming them thus, left, left, right, right; then close your ej^es and
make the letter in the air from the model, which yon can clearly see with
your mind’s eye; now write the letter on paper, stopping frequently to
compare your letters with the copy, and correct your faults. Thus you
may proceed with the letters in their order until you have practiced all
of them.

It is desirable also that you be able to state the proportions of the
letters and describe them ; because knowledge that can be expressed is
held clearly in the mind, and can be put to use or expressed to others.

The following descriptions of the letters of the present lesson will be
made clearer by reference to Fig. 15, in addition to the copies upon the
plate : —

Height, one space ; width of main part, one-half space.
Begin on base fine ; ascend with left curve on connective slant one space,
unite angularly, and descend with left curve on main slant to base line ;
turn short, and ascend with right curve to top ; unite angularly, and
finish, with horizontal right curve a half space in length.

Height, one space; entire width, two and three-fourths

Small 0.

Small a .

WRlTlNQ.

Begin on base line and ascend with full left curve nearly two

spaces.

oblique spaces to the right, retrace one-third of first line, and descend
with full left curve, touching base line one space to right of point of
beginning ; ascend with slight right curve on connective slant to top,

unite angularly, and descend with straight fine on main slant to base;
turn short, and ascend with right curve on connective slant one space.

Small e .— Height, one space ; width of loop, one-fourth space ; length
of loop, two-thirds space; entire width of letter, two spaces.

Ascend with full right curve on connective slant one space ; turn
short to left, and descend with slight left curve on main slant to base ;
turn short, and finish with right curve,. ascending on connective slant

one space.
Small c.

Height, one space ; length of top, one-third space ; width
of top, one-third space ; entire width, two spaces.

•T

J v • t u

V V

§ 3 t

t •

FIG. 15.

Ascend with right curve on connective slant one space ; unite angu¬
larly, and descend with straight fine one-third space ; turn short, and
ascend with right curve to top ; descend with left curve on main slant to
base ; turn short, and finish wdth right curve ascending on connective

slant one space.

Small r .— Height, one and one-fourth spaces ; width from first curve

to shoulder turn, one-fourth space.

Right curve on connective slant, or a little more upright, one and
one-fourth spaces ; fight dot, slight left curve nearly vertical, one-fourth
space ; short turn, straight fine on main slant to base ; short turn ; right

curve on connective slant one space.

Small s .— Height, one and one-fourth spaces ;
height, one-half space; entire width, two spaces.

Make right curve on connective slant, one and one-fourth spaces ;
angular joining, slight left curve one-third space, and full right curve to
base ; short turn, slight dot on first curve ; finish with right curve on
connective slant, one space.

width at third of

pragtigal, waiting,

J 5

CRITICISM.

Criticise your letters and correct their faults.

of height, faults of width, faults of slant, faults of curves, faults of turns,
faults of angular joinings, etc., etc., which may readily be discovered by

comparison with the copy.

own countrymen. On the occasion of a public meeting, held at Geneva
Ohio, to take measures for the establishment of
Memorial library

There will be faults

L i

Platt R. Spencer
in that charming village, the Hon. Darius Cadwell

* y

MONOGRAMS.

The relations of letters to each other are shown by the monograms
in the second copy ; and these are also designed for practice.

Copy 3. The steps of our lesson
■movement , (second) principles, (third) practice .
steps properly taken, the third is rendered comparatively
each word with a short sliding movement of the whole hand slide from

as 3^ou may observe, (first)

The first and second

easy. Begin

letter to letter, space equally between letters.
Begin the practice of a word, makin

FIG. 16.

Illustration of extension and retraction of fingers in executing extended letters.

the strokes as rapidly as you
would ordinarily count: gradually increase your speed until you can write

from twenty-five to thirty words per minute, and do them well.

tinue this practice until you have mastered all the words i

Cou-

in }^our copy.

reviews the thirteen short letters, presenting them i
alphabetical order. The combination is somewhat difficult, but practice
will enable you to execute it successfully.

Be particular to write the exact size of the copies. If you cannot get
the size without, measure the height, and rule
of the short letters.

of Cleveland, addressed the citizens,
speaking of his own attendance

In the course of his address,

a pupil at a writing-school taught
by Platt R. Spencer in Jefferson, the county seat of Ashtabula County,

Ohio, in 1842, in the ballroom of what was then called the Webster
Blouse, he said : —

Copy 4. This

I suppose I was just about as awkward as the other boys and youngsters that

It is perfectly wonderful what a change can be wrought in an
awkward fellow in a short time. Just think of it, — a boy sitting down to a table in

his chair prepared to write, with his toes well anchored around the legs of the chair,

both arms sprawled out upon the table; his pen clutched as tight in his hand as though

he expected, if he should lose his hold upon it, it w T ould be instant death to him • and
the sweat pourin

a bead-line for the tops

attended the school.

LEFT-HAND PRACTICE.

The advantages of becoming ambidextrous i
pointed out in the preceding lesson,
the left hand,

penmanship

The suggestion to practice with

as well as with the right, will we trust be acted
y many who follow these lessons.

were

off of him ! Again

you see his head moving this wa}' and that,
his tongue out, and his ears raising up one way and then the other, and

upon

every part

pen. It is very hard work. If he
a love-letter, what a labor of love that would be ! But

of his body seeming to follow the motion of his

should happen to be writin
under the instruction of Prof. Spencer, how soon all that vanished I

•0^0-

What a graphic description of how not to do it!

Review.

lesson V.

awkward position

In our last lesson we completed the thirteen short letters,
a, c, e , z, m, n , 0 , r, s, u, v, w, x .

betic order, in mental revietv, if you would fix them in mind.

AND MOVEMENTS.

Pass the correct forms, in their alpha-

This class

E had Ion

walentine

considered Dickens’ description of Sam Weller writin

to his

er published ; but Dickens has

y y

t i

Mary, my dear,

y y

as the happiest thing in
been outdone by one of our

of letters, as

that line

you have learned, constitutes the body of your writin

and

should always be written uniformly as to height, slant, and spacing, and

to 1

PRA(j^I(jA

be joined in words by a progressive movement of the forearm and hand
from left to right „ across the page.

i* ;

▼

O 4 O <1 • •

* O o V I * 3 -

• *

/.•

to r-

FIG. 17.-

Scale of semi-extended letters.

The Semi-Extended Fetters (t, d, p, are introduced in this les¬
son. These letters are between the short letters and the fnll-extended
letters in length. (See Fig. 17.)

It would be well to rule slanting guide-lines to aid in writing this

lesson.

MOVEMENT.

Copy i {Plate 4, Lesson V.) The projective and retractive action
of the forearm, hand, and fingers combined becomes greater in propor¬
tion to the length of the strokes executed. See cut of hand-and-pen
designed to illustrate the proper movement for extended strokes. The
strokes of the copy are an inch in length, or two ruled spaces in height.
Strokes might also be made twice as Ion
of movement.

Shading, properly done, adds greatly to the attractiveness of
writing.

thus securing additional scope

£> J

Test the action of your pen without ink, by pressing it squarely upon
the paper to spread the teeth; then move it downward as vou would to

make a slanting straight line, and gradually diminish the pressure until
the teeth close.

When ink is in the pen it flows between the teeth,
forming a shade whose width corresponds to their separation.

Observe that the straight strokes of the first group are shaded

square

at top, and taper downward, as in t and d; and the strokes of the second

group are the same as the first inverted, or light at top and square at
base, as in p and final /.

and compound curve combined, formin

perseveringly on these groups, makin
regular as the tick of a clock.

In the third group we have the straight line

the fold of small

Train

the strokes, in time, as

WAITING.

FORMS OF LETTERS.

Copy 2 ( Plate 4, Lesson K) Study the relation of i to t, a to d

p, of final t top, and a to q, noticing how the short letters form the basis
of the longer ones.

The width of shade in t and d at top, and p and final t at base, should

the width of three fight downward strokes drawn side by
When two l ’ s come together, let the second one receive only a

n to

side,
half shade.
Small t.

What is its height, width, where its cross, how broad its
turn? Name and number its strokes.

How long is the first stroke of

/? How much of first stroke is visible in the completed letter? Practice
i and i alternately.

Study and practice d, p, final t, and q according to the method above

Final t, observe, is fight at top, shaded square at base, and

Its use might be dispensed with,

but business writers find it very convenient; it is therefore taught.

indicated.

has one stroke less than the first form.

WORDS.

Copy 3.

your handwriting by practice upon the words of this

begin a word with t, d, or q , be sure to have the arm and hand so bal¬
anced on the muscular rest that you can

and join the next letter without any hitch or hesitation.

To trace a word, naming or numbering the strokes throughout, i
excellent practice before writing with ink ;

of movement and a clear knowledge of successive strokes.

try left-hand practice: the right-hand practice will be greatly assisted
by it.

You can now incorporate the semi-extended letters into

copy. When you

slide the hand promptly away

it helps to secure regularity

Occasionally

After practicing and criticising the words of the copy until 3^011 can
write tfiem easily and well, other words containing the semi-extended
letters with short letters may be practiced.- Be careful not to choose
words containing letters which have not 3 r et been taught in this course
of lessons. Such words as the following, ate, date , pant , paint , deep ,

steep , pump , quote, pique, equip, quinque, etc., are suggested.

As )^ou write, criticise your position, the action of arm and hand, the
size, slant

spacing and shading of your words, and give 3' , ourself due
credit whenever you perceive that you have improved in any respect.

PRACTICAL,

Practice upon } r our name frequently, and occasionally with, left hand.
Also write specimen of your plain penmanship, and compare it with, the
sample you wrote at the beginning of this course.

• O^O*

LESSON VI.

T HE design of this lesson is to teach the letters /z, k, /, and b.

These depend chief! 3^ upon the extended loop , or fourth principle,

for their formation, and are called the

UPPER EXTENDED LOOP LETTERS.

Their height in medium hand is three times the height of the small z,
three-ninths of an inch. In writing on medium-ruled paper, which is
three-eighths of an inch between lines, the tops of these looped letters will
be one-ninth of the ruled space from the ruled line above them. Their
length gives them prominence in writing'. They are to the short letters
what the tall, trim poplars are to the smaller trees of the shady grove.

The introduction of extended letters increases somewhat the difficulty
of writing through words without lifting the hand and pen ;
the pen is passing to the top of a loop and returning to its base, there is a

tendency to increase the pressure upon the third and fourth fingers, and
thus obstruct the progress of the hand across the page,
this tendency should be the steady aim of every writer.

To overcome

In the execution of the short and long letters, the movements have two
general directions

horizontally along the ruled line, and obliquely in

In both movements

relation to the ruled line.

the horizontal and

oblique the arm, hand, and fingers should co-operate ; but the action
of the forearm needs first

a separate consideration and training. For this
purpose, assume the correct-writing position and project your hand for¬
ward by the action of the arm as far as vou
the third and fourth fing

for the hand.

can, then let it recede

remaining at one point, forming a pivot
Observe as you do this how the wrist moves in and

out of your sleeve.

Now you understand the movement.

It may be

OvER-

and which may be practiced as follows : Assume the writin

position without ink i

effectively trained by

ACTION

an exercise which is sometimes termed

or-

pen ; repeat the projective and receding move-

WRITING.

l 7

ment of the forearm and hand, as if you were repeating a long, oblique,
straight stroke : at first, move deliberately, then increase the rapidity
of action until a speed is obtained that will make the hand appear
almost double, then gradually dimi
accords with ordinary counting.

This mode of

forearm movements whenever desired.

the speed until the movement

also applies admirably to horizontal and oval

We have said the arm, hand, and fingers should co-operate. Thus
we have the Mixed or Compound Movement-, which is well described
in the old Spencerian Compendium of 1859 as “a simultaneous action

of the forearm, thumb, and fingers ; or protruding and receding move¬
ment of the arm, attended by the thumb and finger extension and con¬
traction, which movement, practiced with sleight, produces the extended
letters most beautifully.

Copy i (.Plate /, Lesson VI), leading off with principles 1, 2, 3, and 4,
the constituent parts of all the small letters. These are followed by a
movement exercise requiring repetition of strokes. It should first be
traced, then executed with ink, employing compound movement regulated
by counting. Next we have the double loop, to be practiced in the same
manner. These are followed by the combinations of zz’s with double
loops, first to be traced and then written, with the arm and hand so bal¬
anced that each combination shall be completed without lifting the pen.

Copy 2 (Plate /, Lesson VI.) To overcome the tendency to slope the
looped letters too much, rule slanting guide-hues upon your page, as
mentioned in Preparatory Lesson. Observe how a portion of n applies
in finishing /z, how the same form is made one-fourth space higher and

.Now see

? J

modified to finish k , also how i forms the lower third of /, and the last

Thus the short letters, studied and prac-

three strokes of v apply in b.
ticed in previous lessons, become important aids in forming the extended

letters in this lesson.

• -c- *

Upper Loop Letters, Scale of their heights and widths.

The extended loop, so prominent in all the long letters, is made by
carrying the right curve up three spaces, by left turn descending with

PR AGTlGAL,

WRITING.

left curve on main slant two spaces, and crossing - right curve, com¬
pleting the form with straight line on main slant to base. Width of
loop, one-half space ; length of loop from top to crossing, two spaces ;
distance between the beginning point and base of straight line, one
space.

ing at a moderate rate of speed, and, with a time-piece before y.ou, note
the number of times 3'ou write them per minute without effort to
quicken your strokes; next write the same words somewhat faster,
counting and noting the increase in number per minute ; then still faster,
counting at the end of each, minute ; then faster and faster, until you
reach the highest rate of speed of which you are capable at the time
without material loss in the form, connection, and arrangement of the

The crossing of the loop in these letters must always be at one-third
height of letter above base (see Fig. 18), and the stroke from crossin
to base must be a straight line on main slant. In these two particulars | writing,
criticise your loops unsparingly.

Observe that the h has a slight shade on its fourth stroke, the k on
its fifth stroke, the l on the lower third of its second stroke, and b on
the lower third of its second stroke.

This kind of practice never fails to secure marked progress in rapidity
of writing.

In concluding this lesson, for the benefit of our pupils, we quote from
our father, Platt R. Spencer : —

Copy 3 (Plate q, Lesson VI.) introduces words which give practice
on the letters which have been separately studied and written.

Observe the height of t and d , relative to the loops of h, k , and l. Be
careful in th to make turn narrow at base of t, and line connecting t and h
but slightly curved. Preserve equal spacing between letters in the words ;
make turns short and slant uniform. Be careful to give correct form and
position to finish of k, cross of t , and dot of i.

Copy 4 {Plate q, Lesson VI) Observe joining of b to 0 and 0 to m,
also b to a. In joining b and y, notice how the curve from b sinks down

“When all the movements are practiced fully and systematically, all the muscles
from the shoulder downwards develop themselves rapidly, and power is gained over
the pen to bring forth the adopted imagery of the mind in all the grace and elegance
that spring from just proportions and easy execution.

“Practice, to be sure, is indispensable in bringing to perfection any art, science,
or profession.

“The pupil must not expect to be able at once to execute what he fully
prehends. Patience and energy are required to obtain a thorough and perfect
command of hand. There is no royal road by which idleness and indifference
find their way to a goal which is only to be reached by diligent and well-directed
application.

“The only process really short is such as is made so by commencing in a right
manner from the outset, securing the advantage of an experienced teacher till the
object is accomplished. And, when the object is accomplished, how beautiful aud
imposing are the specimens of art which the proficient is able to produce ! The eye
glances along the well-written page with as much pleasure as it rests on a beautiful
grove, when nature and art have unitedly tasked themselves to blend the greatest
varietj? with the utmost symmetry. And as we travel through the rich scenery,
In writing' //, shade the first l from whose depths breathe out the sympathy of soul, the spirit of inquiry, and the

corn-

may

a half space to accommodate the form of .r.

Practice other words containing the letters taught in this lesson, and
let some of them contain also the semi-extended letters from the last

lesson.

We give a few words for practice, desiring-the learner to think of
others and write them. Write, with a free, uniform movement, the follow¬
ing : hope , hoped , milk, milked , bill , billion , thump , thumped , liable , liabili¬
ties ,, equate , equation , mill , million .
and leave the second light.

voice of love and friendship, we spontaneously exclaim,

Art, Commerce, and fair Science, three,

Are sisters linked in love ;

They travel air and earth and sea,
Protected from above.

There’s beauty in the art that flings
The voice of friendship wide ;
There’s glory in the art that wings
Its throbbings o’er the tide.”

RAPIDITY OF EXECUTION.

From twenty to thirty words per minute is considered a fair rate of
speed in writing. The ability to write rapidly, and at the same time
maintain the proper forms and spacings of letters; can be secured by
special practice with that end in view.

Select a word or a series of words that you can write well when writ-

PRACTICAL, WRlTlNQ.

LESSON VII.

If, as is often the ease, this fault be the result of tnmin
hand over to the right, or because the third and fourth fin

drawn back under the middle of the hand away from the first and second

fingers, to allow them unobstructed play in mak ing the descending

stiokes, the only remedy is to correct the position, thus removing the
cause of the defect.

too much.

the

OPY i (. Plate 4, Lesson VI!.) is a movement exercise, which may
be profitably traced lightly wdth the dry pen or pointed top of
holder, and then practiced freely with ink, forming and joining the let¬
ters throughout the combination with compound movement, and makin

sweeps left and right with forearm movement.

gers are not

Put vim into

the Ion

this exercise, and continue until you can execute it easily and well.
Observe that the loops are the same in width as the small o' s, and on
the same slant.

Copy 3 gives word-practice on

the letters just taught.

This practice

may be continued with such words as the following : just , jiistice ; yours
truly ; faith , fa ithful; a m aze ,

amazing; good , goodness , etc.

Be careful that you do not make your loops too long below the ruled

they must not exceed two i- spaces

LOWER LOOP LETTERS.

Copy 2 requires study before practice. Ruled slant-fines upon the fine,
page, and head-fines each an z-space above the base-fine, will assist in
securing correct slant and height. Again, study the relation between
short and extended letters : See how the first and second' strokes of i and
its dot apply in j; how the third, fourth, and fifth strokes in n form also

or they will interfere with
which is a serious fault, givin

the short letters on the fine below;
writing a confused, tangled

appearance.

FIGURES.

Copy 4 teaches figures, signs, punctuation marks
The figures are of even greater importance than the letters, because

They should

If a letter in a word is uncertain, its character
may be determined by its connection ; but it is not so with figures
are independent characters.

The figure 2, if commenced on the left with a short oblique stroke,

as is often seen, is liable to be mistaken for a seven or a nine; and a

naught, 0, made with its right side shortened, is liable to be mistaken
for a six.

The copy and Fig. 20 show all the figures except the six to be one

and one-half times the z-space in height. They show the six to be half

space higher, and the seven and nine to be half a space longer below
the base fine.

etc.

)

« « Q

• *

• ^ t

• O

0 O

•114

• • A I I 4

C“

• •

• c

• o

T I

4 t

• ?

►

they are so often employed to show important results.

always be unmistakable.

~ a a

« • • *

o o .

C m

c o n

u u

they

)

•t I j »

I • •

FIG. ig.

Scale of Lower Loop Letters, giving their relative heights and widths.

the first part of y; how the first four strokes of a apply in g; how the

first and second strokes of n apply in z , and the o lengthened to 2 y> spaces

forms the lower half of f. Also see in the monogram how all extended

letters, both above and below the ruled fine, depend upon the loop as

then principal stem. The scale given in Fig. 19 makes the proportions
of these letters very plain.

Observe that

)

j has no shade, that y, g, z , and f are each slightly

4 i

►

• I

* yj rj f» 4. ^ *

• • 4

€

4 0%

• * 4 % O O C 0

• •• O «

% I

• k

4 %

p u

• • *

Ot4

n • • 4 sl

c » o

* 1 «> g • *

4 0%

FIG. 20.

Scale for Figures, giving their relative heights and widths.

shaded

on their second strokes.

prompt movements,

fau It

Make all the strokes of the letters with
watched by a critical eye quick to detect faults. A
in writing the lower loop letters is slanting the loop

Besides studying the figures in the copy, notice still further their
scale of heights and widths in Fig. 20, printed herewith,
vertical spaces into which the scale is ruled by the four horizontal fines

The three

mos t common i

PRACTICAL, WRITINQ.

each an z-space in height; and the distance between the two
oblique lines, ruled with each figure (except the one), is equal to that
between the body lines of the u ,—that is, to the zz-space. Except the
naught, which is half the space in width, and the one, which is but a
single line, all the figures, it will be seen, adjust easily to the full
zz-space.

Analyze the figures, naming then constituent elements, —the straight
line, right curve and left curve ; also, study forms and proportions, and
observe that each has a slight shade.

four medium ruled spaces in height, which is just one and one-half inches.
Be careful to have the four sides equal.

Divide the square by vertical
and horizontal lines into fourths, then into sixteenths, then into sixty-
fourths, according to model.

With pen and ink write in the figures like
the copy. The height of all, except the six, should be three-fourths the

height of the small squares. The six should be the full height of a square
and the seven and nine extend below base hue one-fourth of

a square.

ABBREVIATION OF SMALL LETTERS.

Fig. 22 is to be used as a sixth copy.
” some one has truly said.

To save time is to lengthen
In this copy we show how the labor of

life

writing may be materially diminished and much valuable time saved to
the writer. This is done, mainly, b}^ omittin

the first upward stroke *

in upper loop letters and in other letters that have top angular joinings
at the beginning of words, as in a , b,

ft h) Z, J, k , /, o, p , t, u

w; also, by omitting the last curve from lower loop letters

occurring at

the end of words and from short letters where their essential character
is not affected thereby, as in f g, o

The final d in deed , r in her, p in peep, t in tint, in copy,

inform to secure greater simplicity. In the figures a savin

s, y, and z, final, in copy.

are

Exercise upon the Figures in Squares.

FIG. 21.

of strokes

Teaming to make the figures correctly may be greatly facilitated by is made in the 2, j , 5/ and 8 is somewhat simplified by beginnin
placing transparent paper or tracing-linen over the copy and writing upon with a shorter left curve, descendin
that, guided by the correct forms beneath. Then the pupil may write the compound curve.

figures upon his transparent paper away from the copy, and correct by
placing them over the copy, and amending them to conform to it.

and completin

with the usual

£>1

Thus we have, in a nutshell, the method by which time and labor
can be readily saved in writing the small letters and figures.

;

FIG. 22.

Simplification of Small Letters.

Fig. 21. This may be used as a fifth copy. Practice in writing the
figures in squares has been found excellent for the purpose of securing
proper height, spacing, and vertical columns. Draw with pencil a square

Study and practice will soon put you in possession of the art thus
simplified.

In lessons to follow we shall teach the capitals.

PRACWlGAL,

VIII.

LESSON

UR intention is to present to the public a system

“Plain to the eye and gracefully combined,

To train the muscle and inform the mind,

To light the schoolboy’s head, to guide his hand,
And teach him what to practice when

a man.

HOW MUCH TIME TO PRACTICE.

How much time should be devoted

i i

The question is often asked

P. R. Spencer, in his famous summer school

to practice in writing ?
in the historic Tog Seminary at Geneva, Ohio, taught five hours a day,

or nine hours besides.

of his ambitious pupils practiced eight

and training produced intelligent, skilled pen-

from three to six months, is too well attested

and many

That such teachin

in terms varying

men

by the subsequent careers

and women to require any

of those students as teachers and business

statement here. The Log Seminary

men

that required for sleep-

students gave to penmanship all their time,

ing and eating ; three months of which time, counted in hours, equals

time allowed in the aggregate for writing-lessons in graded

save

the average

public schools, in a course of nine years, as prescribed in most of our

Taking into consideration the fact that the students of the Log

older than the boys and girls in our

cities.

Se min ary were, on an average,

public schools, and had the advantage of practicing under the direction
and inspiration of an acknowledged master, the reason why they ac¬

quired superior skill is apparent.

In the business college, where about five hours a week are allowed
for writing-lessons, and at least fifteen hours more for book-keepin
the writing of which should be done with a constant view to improve¬
ment, the student devotes as much time to penmanship in six months
as is allowed in four-and-a-half 3 r ears in public schools for improvement
in the art. The results in the business college are more marked, on
account of the pupils being older and the instruction more thorough.
The originator of the Spencerian held that, if an

writing had been neglected until his school days were over, he should

sit down under the direction of a good teacher and make a business of

a good hand. Writing, however,

tool to be used b} r youth all the way up through their school

individual’s hand¬

learning to write until he acquired
bein

2 I

WRITING.

neat, free, plain hand, at

fife, they should be put in possession of a

possible, that they may not be at a disadvantage as

early a period
students.

The inference to be drawn from all this is, that the .pupil in pen¬
manship should give to its acquirement all the time he can consistently
with his other duties; that he should do so under the best direction

or that can be secured for him, and that he should

he can secure

apply whatever knowledge and skill in the art he gains from special
study and practice in all the writing he has to do.

SIZE AND SPACING.

can properly be written
that having a distance between

Fig. 23 shows the largest-sized hand that
body on medium-ruled paper, —
ruled lines of three-eighths of an inch.

in a

It may be seen that the whole space between the hues is called the

writ-

l L

that eight-ninths of this space is designated the

writing* space ’' is the ‘ ‘ z-space

> 7

{ ruled space,
ing space

the capital O and the small h 's extend the height of three 2-spaces

that

) J

< i

that one-third of the

, or

o' extends two z-spaces

It is further shown that the loop of small

which is the representative in this respect of all the lower loop letters,
does not' interfere with the short letters on the hue below , but cleais

the full writing-space above, while the small
below the base fine.

Q’

their tops by one-third of an z-space, full.

This sized hand has been much used for a copy-hand, because it

may be written on medium ruled paper, and, for models, presents the

The height of small z in this sized hand is

letters clear and distinct.

one-ninth of an inch.

and book-keepin
The capitals and looped small letters must not

ninths of the ruled space, and the z-space

as in bill-making

In using a narrower ruling,
the writing must be reduced in due proportion.

exceed in height eight-

not exceed one-third their

PRAGTlG AL, WFJITINQ.

Writing that fills more of the space between the fines than

height.

shown by this size and plan will, in a body, present a crowded and
confused appearance. The best way to learn practically what this copy
teaches is to copy the cut in every particular.

of one word to the beginning of the first curve of the next word, is

one and one-half spaces. Fig. 24 illustrates this rule.

in practice it will be found that it causes the beginning point of a word

(when the letters are not abbreviated) to fall generally in a vertical fine
under the final point of the precedin

not stand closer than this rule indicates.

In following it

Copy i (Plate 5, Lesson VIII.') Having studied and practiced the
small letters separately, and in groups or classes, we now review them

word. We think words should

as a complete alphabet. Try to identify the principles composing each
letter. If doubt arises in regard to any points of analysis, reference

may be made to Plate 2, left half. All the principles are there given

together in their order, and the small figures about the letters tell what
principles form them.

Copy 2 {Plate 5, Lesson VIII.) This sentence is here given because
it contains all the twenty-six small letters of the alphabet. The small capital is not joined to it.
j does not appear as a separate letter, but it is embraced in the lower

Copy 3 {Plate 5, Lesson VIII.) Here we have a model heading for
specimen of plain penmanship, such as we have recommended to be

written, frequently, for comparison with previous samples, to enable the
student to mark his faults, and to judge of his progTess.

between the capital A and the beginning of the small p is one-fourth
of a zz-space, — the rule in all cases where a small letter following a

The distance

Fig. 25. This embodies a comprehensive statement, which is in it¬
self a valuable lesson, worthy to be memorized while the paragraph is

being practiced. By comparison with the other copy fines, it may be
seen that this writing is smaller. The z-space, or the height of the short
letters, is only one-tenth of an inch, and the capital T and the loop
part of the capital J. The distance between letters in words has been letters occupy but three-fourths of the height of the ruled space. The

o I

previously stated in these lessons as one and one-quarter zz-spaces. distance between the words is two zz-spaces, which we think could not
The distance between words should be regulated, also, for the sake of be advantageously increased.

order and legibility. When words are written too close together, they

cannot be easily distinguished from each other; when too far apart,
writing-space is wasted.

between words, measured on the base line, from the final down stroke

Initial and terminal letters are abbreviated. We should be careful not
to omit any stroke or part that is necessary to the distinctive character
In Copy 2, also in Copy 3, the distance of any letter. Legibility and lineality are both conceded to be essential

to a good handwriting. A few lines will form the body of each small

PRAGTldsA

and strokes are added as connectives, simply to unite the letters

If manuscript is illegible, the object sought to be accom¬
plished in producing it is defeated. The story is told of a man who,
chairman of a lecture committee in Philadelphia, received a note

letter
into words.

letter from Horace Greeley, and, being unable to read it himself, offered

Several persons attempted.
Doughnuts fried in lard cause indigestion” ; another,

; a third, “I’d knock the stuffin’

; and a young lady was positive it

; whereas,

Yours.

a prize to any one who could decipher it.
One man read it:

Idiots laugh at abolitionists, you bet
out of him if he was my offsprin

C i

» 1

l £

1 J

Sparking Sunday nights is a wholesome operation

I do not intend to lecture this winter.

i i

T J

read,

correctly read, it was,

( i

etc., Horace Greeley.

) }

LESSON IX.

Hold the pen lightly :

If you grasp it too tightly
Your hand is made

weary,

And your letters unsightly.

Variation of Old Copy.

USIC puts pupils in a proper frame of mind for writing,
it so addresses itself to the head, heart, and hand
pleasant every employment with which it is associated.

In the good old days, when young men and maidens, from all parts
of our country, gathered in summer classes at the famous Spencerian
Log Seminary, in Geneva, O., to be instructed by Platt R. Spencer,
the originator of the Spencerian system, music and poetry
moned to lend their delightful aid to the task of learning.

strains of Auld Lang Syne, in tenor, bass, and treble, swelled out har¬
moniously from that rural temple, as they sang the

Indeed

as to make

were sum-

Oft the

ODE TO THE PEN.

Hail, Servant Pen ! to thee
Another pleasant hour:

’Tis thine to bid our memories live,
And weave our thoughts in flowers !

we save

b writanq.

2 3

fhe Pen, the Pen, the brave old Pen
Which stamped our thoughts of

Through its bold tracings oft again
Our thoughts will freshly pour.

In school-day scenes and social bowers
It paints our visions gay,

And yields to life’s declining hours
A solace in decay.

Then be thy movements bold and true,
PTiend of the laboring mind ;

Light, shade, and form entrance the view,
And glow through every line.

yore !

This ode is uow suug by the youn

meu and women who

in large

learning the Spencerian in their school within sight of the

grand dome of our

national capitoL Perhaps it would not be amiss to

call it our national Ode to the Pen.

We request those who study and practice these lessons to copy the

Ode as handsomep as they can, in a free-flowing hand, and preserve it
as a

sample of their penmanship.

THE OVAL FORM IN CAPITALS.

The twenty-six Capital Letters, and. the curves of the small

letters, in script, also the curves in Italic print, are based on the oval
form ; while the curves of the capitals of vertical Round Writing, German
Text, and Roman Print are based more nearly upon the circle.

We present the oval, first , in a diagram, Fig. 26, which shows it in

comparison with the circle. It will be observed how the flattened sides

of the oval come within the circle, — the diameter from left to right being

diminished ; while the ends, more boldly curved, project outside the circle
within the square.

PRAGTlGAL WRITINQ.

The diagram is designed, also, to be practiced for the acquirement of

It may be produced as follows : Fix points for the four corners

Trisect the upper side of the square, and, from

Now, for the oval.

skill.

point of 2 yi of the spaces to the right of the left-hand corner, draw
and draw a square, three ruled spaces in height, draw the vertical and oblique straight line to lower left-hand corner, and this will be on the
horizontal hues through the middle ; take the correct writing position

raise the elbow and forearm slightly above the desk, and, with the hand

steadied upon the nails of the third and fourth fingers, sweep round,

forming the circle, by the movement of the whole arm, acting upon

main slant, 52 0 . From upper right-hand corner draw an oblique straight
line parallel to first; from the upper left-hand corner draw a, diagonal to
lower right-hand corner, and bisect the halves of same, to mark the
width of oval. Now, in correct position, with wholearm movement,

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Spencer's Log Seminary at Geneva, Ohio, 1864.

its center, the shoulder-joint. Repeat the sweeps, round aud round
'■ trying to make the curves more correct each time.

No better preliminary practice for eye, arm, and hand can be given
than this upon the circle.

round and bring pen to paper, beginnin

the oval at top, between
the slanting lines, sweep down on the left, and up on the right, and
continue, correcting curves as you proceed, until you produce the true

move

oval.

PRACTICAL

The foregoing exercise upon the circle and oval is preli mi nary to
taking up the regular copies in fresson IX., Plate 5, as a copy.

DIRECT OVAL CAPITALS.

Copy r (.Plate 5, Lesson IX.)

Practice the direct-oval, and the direct-
oval letters, first, with wholearm movement, makin

them two ruled

spaces in height.

To employ wholearm movement, assume the usual writing position,
with forearm resting lightly on its muscle forward of the elbow, then
raise the elbow slightly to bring the muscle free from the desk, and
let the hand glide on the nails of the third and fourth fingers, moved
by the action of the whole arm from the shoulder. This is the boldest

freest movement the penman employs, and is not only useful in striking
large off-hand capitals, but is also a means of training and developin
the lesser and more lnmted movements of arm and hand, in writing - .

In striking a letter, the movement should begin before the

pen is

brought to paper. For example, in making the first form in this copy,
the direct-oval, which begins, as the arrow indicates, with down stroke

on the left, the ready penman will begin by moving upward and over
from the opposite side, with

pen 1 on the wing

) }

before it touches

paper at top.

Wholearm movements may be somewhat moderate when first deline¬
ating a form, but they should soon give place to prompt, quick

ments, which will produce truer curves and smoother shades.

The slant of an oval letter
line through its middle -from

move-

may be tested by drawing a straight

top to base, marking its long diameter.
It will be observed that the capitals, ( 9 , D, C, E
with wholearm

made large in Copy 1,
movement, have each one more curve than the same

capitals have in Copy 2. And why? Because, with the bold wholearm
movement, it is easier to finish with the
middle of the oval, than

upward stroke, passing across the
to stop at a given point, with the down stroke.

Forearm Movement

fied'- by allowin

which

is simply wholearm movement modi-
the forearm to poise lightly upon its large muscle for-

ward of the elbow

Copy r .

may now be employed in striking these large forms
But it is better in

this practice to reduce the size to one

and

one-half ruled
Balance the

spaces in height.

arm nicely, and turn the oval letters out quite rapidly.

WRIfrlNQ,

Shape, shade, and smoothness are the three essentials to be secured
in this practice.

Copy 2, presentin
claims attention.

the letters three-ninths of an inch in height

now

The forearm movement must be continued

the principal move-

ment, and the fingers allowed to slightly assist.

Study the form, proportions, and consecutive strokes of the

capitals

carefully, at this stage of the practice, referring to Fig. 27, in addition
to copies upon plate.

»•

••

-l

•1

FIG.

Scale of proportions of Direct-oval Capitals.

27.

Capital O.

Height, three z'-spaces; width,
two and a half zz-spaces ; distance between left

measuring horizontally,
curves one-half space.

curve.

Strokes : left curve

right curve, left. Shade the first left
Capital D. Height, three z'-spaces ; width, two and a half zz-spaces

curves, one-half space ; height of stem,
two and a half z'-spaces; height of loop, three-fourths of

)

at middle ; distance between left

an z-space.
right curve, left curve.

Strokes: compound curve, compound curve
Shade on stem.

)

Capital C. Height, three z'-spaces; width of large loop, and the
spaces to its right and left, each
curve, left, right.

Capital E.

Strokes : left curve, right

one zz-space.
Shade the third stroke.

Combines C and ( 9 .

Main height, three z'-spaces ; length

of whole top portion to small loop

portion to same point, two z-spaces ; width of whole top
width of lower oval, two

one z-space ; length of lower

crossing -

CD >

one z^-space;

zz-spaces. . Strokes : left curve, right, left, left,
Shade the fourth stroke.

right, left.

See the diagram showing the relation of O , D , C.
The letters

Practice it.

are to be practiced in pairs to secure uniformity. It is
a common fault to substitute straight fines

angles or narrow turns, for full oval turns.

in capitals, for curves, and

Move promptly and regularly in making the consecutive strokes of

each letter ; do not jerk the hand. Begin the movement before brin
ing the pen to paper.

cr-

PRACTICAL,

wriTtnq.

Copy 3.
criticise and correct your faults.

Practice the abbreviations and words here

presented ;

BLACKBOARD WRITING.

The cut above also
blackboard, which

suggests the proper position for writing
requires that the left-side be turned partially toward
the board to secure the proper slant of letters. The left arm and hand
are used to steady the position of the writer.

on a

A chalk crayQn, however,

end is held be-

tween the ball of the thumb and the end of the first finger, while the
main portion passes obliquely across the palm of the hand.

Blackboard practice as an aid to the mastery of practical and
mental penmanship we earnestly recommend.

FIG. 28.

Modified forms of Direct-oval Capitals.

is not usually held like

pen or pencil; the writin

Fig. 28 presents practical modifications of the capitals O , D, C, E
which are commended for practice and adoption.

In addition to the

words, and abbreviations is

copies given, practice on the following phrases

orna-

suggested : One day after date; On demand;

Dr.; Due on demand; Dear Cousin;

Cr. ; Cash 071 account; Compli-

We have received, from a prominent State Normal School,
tity of specimens showing the progress made by
a course of lessons where

a quan-

ments of; Express; Exchange; Expense.

Those who faithfully study and practice will win success.

a class in writing, in
a part of each lesson ~ required practice
the blackboard, and the improvement uniformly made, by the pupils i

remarkable. We have reason to believe that the blackboard
was an important aid in producin

practice

such highly gratifying results.

is of especial use in educating the eye to
forms, and the character of the consecutive strokes which

LESSON X.

a proper appreciation of

compose let-

The two greatest inventions of human ingenuity are writing and money: the
common language of intelligence , and the

Mirabeau.

HK accompanyin

sition for writing;

((

ters and words.

Movements.

lajiguage of self-interest.

common

y j

In practicin

the larger-sized capitals
spaces in height, employ the wholearm movement freely ;

them one and one-half ruled spaces in height, using the forearm
ment (the wholearm movement modified, by allowin

forearm, near the elbow, to come lightly in contact with the edge of
the desk) next, write the capitals eight-ninths of the ruled
height (medium-ruled paper), with combined movement

two ruled
next, make

move-
the muscle of the

cut, Fig. 29, represents the partial left-side

sometimes called the accountant’s position,

po-

U l.t.x ?•).!.

■ a* v.i»-

space m
in which the

- 0

fingers slightly assist the forearm.

In each of these movements the
mind should be directed to the shoulder as the center of motion, and

the writing speed should be gradually but surely increased, from mod¬
erate to highest degree of rapidity practically attainable
to produce the standard forms.

5 4>

I* I /

-n Uli..u.

aiming always
He who aims at nothing hits nothingi

Aimless practice is worse than useless; it is injurious to mind and
hand.

' ■)' r ] .1

FIG. 29.

Left oblique Position.

OVAL CAPITALS.

in securing the proper slant and
The loops at base of exercise facilitate

because adapted to writing on books that cannot conveniently be placed
obliquely upon the table

The square, Fi
width of the reversed oval.

30, is an aid

£>•

we may place paper.

PRAGTlGAL

movement, round and round in same oval. Dwell upon
ise until freedom, ease, and good form are secured.

continuous

The correct slant of a reversed-oval may be readily secured by

on main slant, and then striking the

Observe the shade. How does it increase and dimin-

making a light straight line,

oval around it.
ish? Where is it broadest?

Caution: Do not begin the reversed-oval with too slight a curve

leave it too much open at base, producing a horse-shoe form.

nor

Pen on the wing ! sweeping down on the right, in the air, and up
on the left on paper, to produce full, free left stroke in reversed-oval,
as it forms the prominent part of a large family of letters.

Copy i ( Plate 5, Lesson A.) introduces the reversed-oval, which is
the distinguishing feature of nine capitals, called the reversed-oval
letters.

In forming this oval, the first direction of the movement is upward, —

the opposite of that which produces the direct-oval, or capital O;
hence the name, reversed- oval.

The small loop of A is on the slant of the lower part of right side
of oval; aim to make the long loop on main slant, and, in the whole-

arm practice, extend it one and one-third ruled spaces below base-line.

Left and right curves in 0 cross each other, closing the oval at
base : the loop is horizontal.

a left curve, and not its opposite, nor a compound curve,
many shaded strokes in each letter?

Copy

Be careful to make the fourth stroke of

How

• The capitals are here presented practical size. Width of
- re ^ erse d-oval (see, in Fig. 31, the left half of A), measured horizontally,

third stroke of X , descending, touches shaded oval

there is a tendenc}^ to make an
making the, letter look like a K.

two

^-spaces ;

middle height;

make it a true curve ;

angle at point of contact with shade.
Strokes : left

curve, right, left, right.

WRITING.

2 7

Capital IV. Oval same as in X; width across top (see Fig. 31),
from oval to angular joining, one and one-half zz-space ; width between
angular joinings at base, one space and two-thirds ; narrow spaces at
middle height, equal; final curve, two-thirds height of letter. Strokes :
left, right, right, left, left.

Capital Z. Make the oval as in W; small loop, one-
in height; width of long loop, one-half zz-space, full,
make oval and long loop both on main slant. Strokes: left
left, right, left.

Capital 0 .

z-space
Be careful to

right,

Reversed-oval, same width as in Z; right curve de¬
crosses left curve near base, and passes one zz-space to the

left; horizontal loop, narrow, and one zz-space long; compound curve
crosses both curves of oval. Strokes: left, right, compound. The
monogram, which embraces A, W, A, Q , is presented for study and
practice.

Copy 3 affords practice upon words embracing capitals that have
been taught separately in this lessou. The A and Q join readily to
small letters that follow; so will the A. More extended practice on
these letters is suggested. The name Xenophon Quinton is a good one

» o » o r c

4 '

1 *

3^0

»•

» o 1 1 •• ;

^ v f •

i % o * *

v B

- y

« r.

♦

f I C

f * l • *

• iCA&a* * • o • •

-T

• 4 O • I r ^

FIG. 31. — Proportions of X, W t Z, and Q»

to write ; Washington , another ; Zimmerman is an excellent combina¬
tion for free practice. Many others may be thought of in this connec¬
tion, and written, for improvement.

LESSON XI.

REVERSED OVAL CAPITALS CONTINUED.

OPY 1 ( Plate 6 , Lesson IIP) In the first half of this cop}'- the
reversed-oval is modified to adapt it to the V, U , and Y. See

• M

how the shaded stroke is brought down on the main slant on the
right. The fine dotted across the oval on main slant in Fig. 32 forms

PRACTICAL,

the axis of the oval, and is parallel to shaded stroke,
compounded in nearly equal parts as to length, of right curve, straight
Une, and left curve. How does the shade increase and diminish ?

Practice the V, U, and Y thoroughly, with wholearm, and then
pass on to similar exercise upon the / and J.

The I and / depend upon the reversed-oval for their top portion ;

This stroke is

but the width of the oval is slightly reduced, and the opposite curves
cross near the base line.

If you wish to be represented by a
does not? — give special attention to capital /. Many excellent writers
make it with but two strokes, omitting the final left curve.

It is necessary in these letters, / /, to make first third of upward

will cross it

and who

left curve, full! full! j so that right curve descendin

above point of beginning. Observe position and form of shades.

Copy 2 brings us down to the practical and most useful size again.
Capital V.

fourths in width ; final curve, two-thirds height of letter,
compound, compound.

Capital n U. Reversed-oval, same as in V: distance between shaded
stroke and straight line, one space, full; height of straight line two-

Reversed-oval (see Fi

33), one space and three-

Strokes : left

£>•

■

« •

FIG. 33.

Proportions of V, U, and Y.

thirds of letter.

one shade, mind.

Capital Y. First four strokes

Strokes: left, compound, right, straight, right. Only

as in U, finish with loop, like

same

WRITINQ.

small y, though it may be fuller,
straight, right, left.

Strokes: left, compound, right,
Work up the monogram.

The proportions of the V, U, and Y are clearly shown in Fig
Capital I. First or simple form; width of loop

ing of curves one-third z-spaee above base ; distance between

• 33 -

one zz-space ; cross¬
curves on

•>

base-line, one zz-space.
curve

Strokes : left, right.

Shade lower third of right

The second or full form of the / is completed with
one and one-half z-spaces high, and two and one-half zz-spaces

oval,

long (see Fig. 34). Especial attention should be given to the direc¬
tion and curve of the final stroke.

✓

Capital J. Top similar to I; loop below, one-half zz-space, full, i
width (see Fig.

slant to long down stroke.

showing relation of / and J.

Copy 3. Practice on words.

any following small letters.

34) ; shaded on right side.

Be sure to give main

See monogram

Strokes: left, right, left.

The U, Y y and J join conveniently to

Write also Uncle , Very respectfully , Yours
truly , / remain, / promise , June, July , January , etc.

The capitals we present, as most will agree, are plain and simple
and yet symmetrical, in style. The tendency of handwritin

in obedi¬
ence to the demands of every-day use, is steadily in the direction of

simplicity of form. It is not man}? years since the reversed-oval used

in the nine capital letters taught in this lesson was formed with four

o y

O » I 1 •

• » •> •

* f> I J- *

> •

«j - u

1 ■>

i l\

0 £

- J

k A

Measurements of I and J.

FIG. 34.

strokes, and now it is universal!}? conceded that two strokes much
better answer the purpose than did the four.

We warn our pupils against the use of redundant strokes in writ-
Soine of our young people, especially when they have attained
free command of hand, indulge in extra curves and elaborated forms
ot letters, quite ridiculous in business and correspondence, and the
Spencerian System is often unjustly held responsible for such eccen¬
tricities, when it really condemns them.

In conclusion, I would remark that unfortunately the body of pro-

mg.

PRACTICAL,

fessional penmen In our country too often suffers in reputation because
held answerable for the gimcrack productions of exceptionally vain,

of penmanship. Other

more or less, from having unworthy members,

conceited, and illiterate self-styled “professors

professions suffer also
whose acts they deprecate, but cannot control.

7 7

)

LESSON XII.

How pleasant is the task to dress
Our thoughts in forms of loveliness.

OVEMBNTS, principles, and practice form the natural divisions
of a lesson in penmanship.

The movement exercise gives control over arm and hand, —power to
execute; the study of principles of form, spacing, and arrangement gives
to the mind a clear understanding of what is to be done ; practice or
application secures the desired result, — business handwriting.

£ ■ ■ »

FIG. 35-

Copy i {Plate <5, Lesson XIL) This lesson begins with wholearm
movement exercise on the ovate-acuminate or leaf form. Draw a square
and a half, two ruled spaces in height, as in Fig. 35. Begin in upper
right-hand corner, descend, as indicated by the arrow with wholearm

movement, forming the bold compound curve; sweep round with full

oval turn, and, with opposite compound curve, return to starting-

point; repeat the strokes about twenty times, and finally terminate
with horizontal left

forming egg-oval, half the height of the
Practice until freedom and good form are secured.

curve

)

stem.

CAPITAL STEM LETTERS.

The second form in the copy is the capital stem

or seventh princi¬
ple, upon which half of the alphabet of capital letters depend for their

WRITINQ.

formation. The stem must be mastered, as the surest and shortest

Observe the oval sweep, with shade
well down upon its under side. In making A, N, and M , after strik¬
ing the stem with wholearm movement, many good writers prefer to
make the left and right curves that follow, with combined movement,
the forearm lightly poised upon its full muscle.

Next, practice the copy wholly with forearm movement, making the
forms one and a half ruled spaces in height.

Observe that the first curve of the stem in T and F is one-half
space shorter than in A , N , and M, and more upright. The T and F
may be made throughout with wholearm movement.

After persevering wholearm practice, make the same letters with
forearm movement, one and a half ruled-spaces in height. Remember
that the forearm movement is simply the wholearm movement modified
by bringing the frill muscle of the forearm lightly to the edge of the
desk. Do not begin the shade of oval above the middle of the stem.
In striking lower half of stem, give the hand a quick roll leftward, to
bring the pen more nearly in fine with the shade.

The new oblique-clasp penholder produces this stem and shade better

than a straight holder.

means of learning these letters.

Copy 2 again shows the development of the capital stem from a leaf
and bud form.

He who does not live in a shell, and is not too severely practical
to appreciate the relations of this art to nature, may lift his eyes and
see around him, in nature’s forms, the graceful elements of penman¬
ship. P. R. Spencer’s pen, which was both practical and poetic,
wrote :

The floating clouds, the sun’s bright beam,
The ocean wave, bud, leaf, and sky,

The opening flower, the rolling stream,

Are letters to the enraptured eye.”

We will now consider the formation of these letters more in detail.
They should be made to fill eight-ninths of the ruled space (medium
ruling), and be executed with the combined movement,
forearm movement attended by contraction and extension of the fingers
and thumb.

Capital A begins with a stem made from top downward.

i. e. with the

In this,

PRACTICAL,

a slight left curve, well slanted, descends half-way ; continuing,

egg oval is formed on an angle of fifteen degrees, two and one-half

and one and one-half spaces high. The shade is entirely
on the right curve of the oval. From top of stem, on the right, draw
a slight left curve to base line; then finish with left and right
curves, short, as per cop3^. Strokes: left, right, left, left, left, right.
Figure 36 shows accurate^ the proportions of this letter, as well
as of the M and N

•ft J

* t f

I %

Proportions of A, N, and M.

FIG. 36.

Capital N Form letter A to point where third curve touches
base ; turn short and ascend with left curve, two spaces high, finishing
one space to the right. Strokes : left, right, left, left, left.

CapitoJ M. Capital stem and left curve as in N ; narrow turn,
left curve ascends even with top and one space to right; angular join¬
ing, left curve to base ; narrow turn, right curve on connective slant,
one space. Strokes : left, right, left, left, left, left, right.

See in the monogram how the capital stem is modified at top for
T and F. Describe the modification. Do the stems and caps join in

these letters? Where is the highest point in the second left curve of
the cap?

The proportions of the T and F

given below in Fig. 37.

• Q • 4-

O ft

• * ' *

ft ft •

FIG. 37.

Proportions of T and F.

Capital 71 Capital stem, five-sixths full height of letter, with first
left curve a trifle fuller than in A , and more upright; begin cap two

curve one space, right curve one space
spaces. Strokes; left, right, left; left,

spaces above base ;

left

horizontal waved line three
right, compound.

Capital F. Cap and stem

in 7 j with upper curve of oval com-

writinq.

pleted by a right curve crossing the stem.

Attach the slight left curve
Strokes : left, right, compound, left; left, right, compound.

Notice that F has three compound curves or waved lines, two of
which are horizontal.

Study and practice the monogram containin
in this lesson.

Copy 3 gives practice in word-writin
small letters.

too far from the capitals.

all the letters taught

See how A and M join to
In writing Nov . and Fir, do not begin the small letters

£>•

What is the rule?

FIG. 38.

Abbreviated forms of A, N, M, and F.

Fi:g. 38. In previous lessons we have referred to the constant ten-
dency, in our country especially, toward greater simplicity in the form
of letters used in current Avriting.

beautiful form, but somewhat elaborate and rather d iffi cult of
tion, has been gradually undergoin

now to see it employed by excellent penmen, men of correct taste
the final curve of the oval-sweep omitted, as shown in the copy, which
is given for free practice.

It is suggested that additional words and some phrases be practiced

■

to secure the greatest amount of good from this lesson. Such as Amend ,
Amendment , Amount due on account; Nine , Ninety days after date ;

Mdse ., Mercha n dise , Mem 0ra n du m ; To Freigh t pa id , Frien ds , Frien d-

sh ip .

The capital stem, a graceful and

execu-

a change, and it is not uncommon

with

In concluding our lesson, let us again quote the words of a vener¬
ated master, for our inspiration in this art; —

If fairl}' and honestly viewed, the art of writin

must rank side by side with all
the high and noble arts which have done so much to beautify and adorn the world,

and have contributed so greatly to the refinement and pure intellectual development
of mankind. He who loves nature, and admires all that is truly beautiful, will find in
the prosecution and study of this art something to enlarge and develop the highest
faculties of the mind, — something to make him interested in that which pertains
to the welfare of those around him. Let, then, every one seek to gain a practical
knowledge of this art, and as long as he lives will it be to him a source of pleas¬
ure, profit, and improvement.”

PRACTICAL

LESSON XIII.

It is the preserva-

“The Pen engraves for every art and indites for every press,
tive of language, the business man’s security, the poor boy’s patron, and the ready
g^vj-y'jut of the world of mind.

CAPITAL STEM LETTERS CONTINUED.

OPY i (Plate 6 , Lesson XIII.) Carefully study this copy. Draw,
with free hand, a square, as in Fig. 39, and add a half square
to its right side,; divide height into two equal parts, by a horizontal
line ; within this figure, strike, with wholearm movement, the right
curve and stem combined, forming the first part of H and K t as per

Practice until you can strike the first form handsomely, then

copy.

practice the full forms of the two capitals.

Is the stem made the full height of the letters, in H and Kf At
what height is the small loop in Kf When you are able to execute

the letters H and K nicely, pass on to A, L , and G.

Kxamine the copy critically to get a distinct mental impression of
the forms.

Note the fullness of the compound stem curves in A and
L, and the omission of the first curve of stem in forming G; also the

fullness of the initial rig'ht curve in each of these letters.

The

square-and-a-half, as in Fig. 40, may be profitably used
securing slant and proportions of S, L , G. At what height is

m G f Where shade

as an

aid in

the loop crossing in .S' and L ? At what height i

wfotinq.

these letters? Criticise your

Practice, cheerfully, with whole-

to •

arm, also with forearm movement.
Copy 2 .

The height of these capitals is eight-ninths of the ruled
space on medium-ruled paper.

In writing them let the muscle of the

l 1

Proportions of H and K„

forearm touch the edge of the desk lightly, and employ the combined
movement

have directed for current writing in previous lessons.
We omit particular descriptions of letters in this lesson; but each

as we

student of the course is requested to try and frame proper descriptions
in his own words.

We think he ought now to be able to do this

with the aid of Figures 41 and 42.
and lead to a clear apprehension of the forms to be written.

It wall prove good mental exercise,

When

1 O

•i

r o

4 a 1 a

6i^ • r * n

r* o

* ,

/■

-VJ •> *-

c Vi

•

1 T 7

* D -

o 1

fa * * < o

T C# fa c n 3

4 1

FIG. 42

Proportions of S, L/and G.

prepared by the preliminary stud^q execute with a free movement, rrmk

ing the strokes in rapid succession, and springing the pen promptly
in producing the shaded parts,
letters, and are

The monogaams show the relations of

given for study and practice.

Word-writing is now in order; it incorporates the improved
capitals into 3mm: handwriting. Do not fail to preserve the relative
heights of small letters and capitals. Honestly and fairly criticise your

Copy 3 .

efforts, and always seek to have the last fine the best.

own

Abbreviations of H, K, S, L, and G.

Fig.

this cut.

I11 preceding lessons we have referred to and approved the prevail¬
ing tendency, among ready writers, to simplify the script forms.

A copy additional to those in the Plate is presented in

43-

PRACTICAL

It will be seen that in this copy we secure greater simplicity in the

the final oval stroke in each stem, and
in the A by omitting the initial right curve.

We aim to systematize the simpler or abbreviated forms, and present
them in such manner that they may be learned and adopted in current
writing.

//, K , S, and G, by omit tin

LESSON XIV.

ERE we introduce a small family of letters combining the com¬
pound curve or capital stem and the reversed oval.

STEM-OVAL CAPITALS.

Again the square may be used, as indicated in Fig. 44

to practice. Observe that the stem begins about one-sixth below the
full height, outside of the square.

as an aid

i - • t . .

FIG. 44.

Practice the exercise with wholearm movement, and dwell upon the
oval until you can make the curves true.

Copy i (.Lesson XIV. Plate g).

Make left curve of stem in P\ B,

P quite full, but be sure to merge it into shaded right curve at mid¬
dle height.

Preserve neat oval turns at base and top.

last curve of P cross the stem ? At What height is the narrow loop

formed in B and P f What direction or slant is given to the loop

as it crosses the stem? What portion of the width of the oval, in
these three capitals, is on

How is the B finished? How is the P finished? Sweep the
without hitch or hesitation.

Where does

the right of the stem above middle?

curves

Practice, also, with the forearm,
ment, making the forms one and a half ruled spaces in height.

sometimes called muscular move-

WRITINQ.

Copy 2 requires combined movement practice, bringing the forms
down to practical size.

Study the capitals in copies and in Fig. 45 and describe them in
your own terms.

Copy 3. Word-practice, the final application and confirmation of
what has been learned.

If the hand does not freely glide from letter to letter, in words
lighten the arm-rest upon the muscle, and the hand-rest on the nails

}

■*

Proportions of P, B, and R.

FIG. 45.

of the third and fourth fingers, and just before beginning a word pass
the pen right and left over the space the word will occupy ; then go
ahead and write the word.

SPECIMENS.

Lesson XIV. brings us through the alphabet of capital letters.
Would it not be well to now write a specimen to compare with your
writing done previous to entering upon this course of lessons ?

LESSON XV.

The studious Mind, determined to prevail,

Will from its programme strike the one word, Fail.

))

MOVEMENTS.

HIS subject was presented by the father of Spencerian writing in

the old Compendium of Spencerian Penmanship (1857), as fol¬

lows :

In writing, four movements should be employed in training all the muscles,
whose ready aud disciplined use constitutes good work.

(r.) ‘‘MuscuLArt movement, which is the action of the forearm from the elbow
forward, in all directions. The wrist an inch above the paper, and the forearm
playing freely on the movable rest (nails of third and fourth fingers).

( (

PRACTICAL, WRITING.

FINGER movement, which means an extension and contraction of the
and second fingers and the thumb. Such a movement, purely as such, scarcely

Iii the opinion of some the employment of shade, when
quired, does not add to the labor of writin

( 2 .)

once ac-

first

exists in the specimens of the correct and ready writer. Those marks which come
nearest requiring this movement purely are the descending or central marks of the
‘ short letters ’; and even in these , the muscular movement preceding on their hair
lines carries its steady, firm sympathy into the downward marks.

but is thought, by giving

variety to the action of arm and hand, to render them less liable

to J

fatigue.

He who can shade properly may, at will
ing, should circumstances make it desirable to do
Copy i (Plate 7, Wesson XV.)

omit shade from his writ-

Mixed or Compound movement, which is a simultaneous action of the

so.

( 3 -)

forearm, thumb, and fingers ; or, protruding and receding movement of the arm,
attended by thumb and finger extension and contraction.

Wholearm movement. This is the largest, boldest movement employed,

— training all the muscles into obedience, from the shoulder forward. To pro¬
duce this movement, raise the forearm some two inches and a half, and slide on
the movable rest (the nails of the third and fourth fingers).

“In writing, ‘exercise’ is the most rapid and efficient training, intended to
greater ability to execute, iu form and combination.”

Take the dry pen and with.
pound movement make a stroke on paper as 310U would to produce the

first form of shaded line in the copy. Observe that by quick pressure

the teeth of the pen separate at beginning of stroke, and then gradually

come together as the pressure is lightened in descending.

The second form of shade given in the copy is the first inverted.

The third is

com -

( 4 -)

straight line, having a turn at base. This shade
gradually increases, and then tapers to the turn.

The fourth form of shade is the third inverted.

on a

secure

The practice of every writing-lesson should be commenced with

movement-drill.

No movement-copy is given with this lesson ; but pupils are re¬
quested at this stage of their course to call to mind, and practice,
movement exercises previously learned and found to be beneficial ;
to investigate for themselves and look up other exercises.

Plates 16, 17, and 18 of this work contain many valuable exercises
relating to the capital letters.

The fifth combines the third and fourth.

middle of the down stroke, and tapers to the turns.

The sixth and seventh forms show how shades should increase and
diminish, gradually, on curves.

After the dry pen practice, produce the strokes with ink.

a shade. If the teeth of the pen are not brought

evenly to the paper, the edges of the shades will be ragged. Another

efiect of unequal pressure upon the nebs of the pen in shading, is to

throw the pen out of its true path and thus spoil the form of the
letter.

This shade is heaviest at

Do not

hesitate while makiu

SHADING.

Shades are not a necessity in writing.

;>ame whether fight or shaded, and when a very stiff pen
called a

strokes

The forms of letters are the

or what is

stylographic pen, is used, shades cannot be formed, so that the

Copy 2.

The t and d show application of the first form of shade;
the p show^s the second form ; l and f contain the third; the 2 exhibits

the fourth ; the h and y present the fifth ; and the a and q show the
sixth shade, all on a reduced scale.

are all nearly of one width,
haps, a trifle heavier than the

the dowmward ones being, per-
upward. Such whiting may be neat and

legible, but lacks the

attractiveness lent by modulated strength of fine.

The width of shade in /, d , p , and f is equal to the width of
three fight fines, drawn so that their sides will touch.

Shade is a matter of taste.

If we were to limit ourselves strictly to

as the farmer does when he puts on his field-clothes,
shade would be omitted from

. The love of beauty which

In the /, z, h ,

J'i a i an d q the width of shade is a trifle less, because the shaded

utilitarian ideas.

our handwriting.

leads to the study of form and color in

^ garments which we prefer to wear, also chooses and approves of
»ght and shade and

°f thought.

strokes are shorter. Practice !

Copy 3.
shade 7 is showm.

In capital V y shade 5 is used ; in O, shade 6 ; and in Q,

In A, w^e have shade 7 more nearly in a horizon-
the garb tal position ; and the same form of shade applies in the stem of G.

a graceful symmetry of form in writin

to j

Practice these letters until you can shade in proper form, and smoothly.

PR A <3 TICS A I, WRITING.

LESSON XVI.

OPY i {Plate y, Lesson XVI.)
up of the preceding lessons.

Lesson VII.

It reviews most of the small letters, and shows what
forms may be modified or abbreviated, to advantage

These economies in writing may be made

This is a review or s ummi ng

in business.

.your own by practice,
much valuable time and exhaustive

and become the means of savin

A LESSON IN REVIEW.

£3

labor durin

the years of a busy life.

£>

Study the seven principles or

constituent parts of the letters and
figures, practice their formation, and identify them as they appear in
the model alphabets that follow.

•O^O*

Do not hesitate in makino-

a letter, but let strokes follow strokes
in regular and rapid succession. Shaded strokes are made by a quick

spring of the pen. The learner who has been intelligent and faithful

in acquiring the prior fifteen lessons will produce much better alph
bets now than when he commenced.

Learn to think of the letters in their order, and in

forms, and write them as rapidly as thought can present them.

After writing an alphabet look it through critically to discern faults

and excellences ; the former may be marked with slight crosses, and
the latter by short underscores.

LESSON XVII.

The tongue is not the only way

Through which the active mind is heard;
But the good pen as well can say,

In tones as sweet, a gentle word.

i (

their proper

Then speed we on this art to gain

Which leads all others in its train ;
Embalms our

toils from day to day,
Bids budding virtues live for

aye;

Brings learning home the mind to store,
Before our school-day scenes are o’er.”

Do not leave the lesson until clean, free, well-formed principles and
alphabets have crowned your efforts.

Fig. 46. We have here an alpliabet of capital letters modified, and
in many respects simplified. The abbreviated forms have appeared in
groups in pievious lessons. Their presentation in alphabetic order will

LITTLE more than two decades ago the lines quoted above
companied the instructions given in the Spencerian copy-books
and man}? - a youth, was inspired by them to guide aright the pen.

We can never forget a visit which we made in those days to

ac-

help to give a clearer idea of them.

would be well to write it through, making each letter begin a word or
name.

The set is for free practice.

It public school in a thriving town on the Hudson. We had been told

that they had excellent writin

there.

We were received with great
cordiality by teachers and pupils, because of their warm attachment to

Copy

requested to turn back and write again the copy contained in Fig.

For the third and last copy of this lesson the learner i

3 -

the system of writin

which we represented.

pens and books were brought out for

Eyes sparkled when the
an exercise, and a bright little

22 ,

PRACTICAL,

WRITING.

fellow standing by his desk recited in bo3 7 hood’s purest, sweetest tones

which leads our lesson. Those words and others, memorized

vention of types.

The pen is the parent of both ancient and modern

letters, and the types are the casts and recasts of the forms which

the poem

by the pupils, helped to invest the exercises of the mind and hand with
charm that wins success. One of the mottoes of that school
The student should think as well as write.

it has produced. They are varied in size, from the tiny characters
used in uniting- in one little volume the old and new versions of the

was,

From the instructions

7 J

Bible, up to the great blocks employed in printing mammoth posters.

in its multiform uses, from the fly-leaf memoranda
to the engrossing of treaties between nations

L i

found in the copy-books, which guided their lessons, we further quote

He who observes and studies, and copies the princi-

Chirography

c i

the followin

pies, detects their use in the several letters, and both principles and
letters become imprinted in the memory by looking, thinking, compar-

cr -

must admit of being
Practical styles of

made large and prominent or small and condensed.

kS# tin.JD at/13 o o7c

JihpZantfZz-v/ u •

l. <?rrcsp07'ic&7'ij7

ing, imitating, and trying.

Movements. — While it is, without doubt, best that writing-lessons
should generally begin with movement-drill exercise, yet we offer no
apology for omitting to furnish a copy here for such drill. The student
who has followed the course thus far can himself decide what move¬
ment-drill he most needs, and, from what is abundantly provided on
these pages, select and practice that which will meet his individual

> >

III .

The excellent penmen of our country (and they
numerous), resort frequently to standard movement-drill
keep themselves in writing order.

training for any considerable period of time surely falls back in his
execution.

now quite

are

-EWTttSS' q/ZdcCO U TTsfo

The penman who neglects his

DIFFERENT SIZES OF WRITING.

Copy i (Fig. given herewith).

given to the different scales and sizes of writing.

of any size may be executed either with or without shade,
man acquainted with only one scale of writin

FIG. 47.

Some attention ought to be

Several Sizes of Writing Illustrated.

Common writing

writing are formed on scale-sizes,
to one-fifth of an inch.

varying from one-sixteenth, or less,

The pen-

would be as poorly
equipped as a printer with but one size of type at his command.

After becoming familiar with the scale of

The latter is the maximum size for ledger-
headings ; but one-eighth of an inch answers well for that

purpose.

The capitals and loops
times the height of the short letters.

as commonly taught, are formed three

This is, without doubt, the

one-ninth or one-tenth of

an inch, the writer should learn how to
for the different

vary it to suit the size required
into which practical writing must enter.

most natural proportion for script; but it
when circumstances

ma) 7 be readily varied

made as low as

uses

requirethe long letters bein

The students should

rule the various scales, given
the rulings to go across the page), and adapt alphabets

sentences to them, repeatedly, until familiar with
business-writing. It is a method which is not only pleasin

Hores helpful in the hands of those who give it a fair trial.
Printing letters with the

m Fig.

two and a fourth spaces on the one hand, or as high as four, five
six, and possibR

£5

(lengffhenin

in some styles or runninghand,

even eight spaces.

all sizes of But here, as in other things, the most generally useful proportions will

but be found near the golden mean.

and

Copy 2 (the two lines in middle of Plate 2).
on a scale of tenths of an inch

These fines are written
the capitals and extended letters

pen antedates,

many centuries, the in-

3 6

PRACTICAL

being three-fourths of the height of the space between the lines of
medium-ruled cap and letter paper. This is sometimes designated the
Corresponding Size.” We gave an example of it in Fig. 46, of our
last lesson. It is large enough to be easily read, and at the same time
does not crowd the space on medium-ruled paper.

Copy 3 (Journal Day-Book entry at bottom of Plate 2 ). This copy
practically illustrates the use of three sizes of writing. The date — the
largest or heading size — is on a scale of eighths of an inch, —the short¬
est letters being one-eighth, the capitals three-eighths or over, in height.
This size is adapted to ledger and other headings where perspicuity is
desired. Some accountants write headings on a much larger scale; but
as books are used upon a desk, near to those who write in them or
refer to them, we see no need of headings of such extraordinary size
as to make them readable at a long distance. The size here given can
be read by a person having tolerably good sight at a distance of from
seven to ten feet.

4 4

The titles of the two accounts debited and the two accounts cred¬
ited are on a scale of twelfths of an inch,

the short letters being

This

of account-books, which is closer

than that of foolscap and letter-paper, and does not crowd the writin

The figures to the left of these entries, and in the money -

columns to the right, are one and one-half times the height of the
short letters.

one-twelfth and the extended letters and capitals three-twelftlis.
size is adapted to the ordinary rulin

cr-

space.

The smallest hand is
where considerable is stated in limited
scale of sixteenths of an inch.

be exercised to form each letter distinctly
legible.

required for the explanations on the right,

The size given is on a
so small a size care should
or the words will, not be

space.

In writin

ABBREVIATED WRITING.

Copy 4 (.Abbreviated Hand , Plate 12). The hand on this plate
mainly developed by P. R. Spencer, Junior, and has been successfully
taught, in addition to the full styles, in the Spencerian Business Colleges
at Cleveland, Milwaukee, New York, and Washington.

was

The results of

such teaching are conspicuous in the writing of many excellent penmen
qualified at those institutions.

The simplified forms embodied in their
correspondence and other current writing are in striking contrast with

WRlTlNQ

the elaborate letters and redundant curlycues which have from time
immemorial been charged upon teachers of penmanship.

The abbreviations in this plate are in some respects quite radical;
it does not seem needful to go further in the matter of simplicity of
form.

iS\Cdi

LESSON XVIII.

Sounds which address the ear are lost aud die
In one short hour; but that which strikes the
Lives long upon the mind; the faithful sight
Engraves the knowledge with a beam of light.

RESUME OF TEACHINGS.

T HEORY in writing is useful only as it is reduced to practice.

Theory directs, practice performs, and the result is a useful art.
To write well should become the fixed habit of every one who writes
at all. Habits are formed by the repetition of action. Bad habits

are cured by doing the right thing over aud over again.

As a means to securing a good handwriting we have in these
lessons sought to secure the proper position and handlin
Position gives power”; “Movement is the parent of form,
the position, so the movement; as the movement, so the form.

Throughout our countiy now, the teaching in regard to holdin
and handling the pen has quite generally been brought to one stand¬
ard,— the same we have sought to inculcate in these lessons.

To secure genuine skill in the use of the pen, the arm and hand
require much training, or disciplinary exercise. Hence, each lesson,
we have remarked before, should be commenced with a movement-drill
exercise occupying from five to ten minutes’ time, at least.

The good right arm is the magazine of power. Using it from the
shoulder, with the elbow slightly raised, the hand gliding on the nails
of the third aud fourth fingers, large forms may be produced with finish,
grace, and beauty. Such is the wholearm movement . This movement
from the shoulder, modified by poising the arm upon its large full mus¬
cles on the under side between elbow and wrist produces with rapid,
untiring strokes the medium or smaller sizes of capitals, small letters
and figures t best adapted to business writing. This is usually called

eye

of the pen.

4 c

> >

PRAGTlGAL

the forearm or muscular movement.
and requires persevering discipline in order to make it available.

Attending the forearm-movement, may be allowed a slight subordi¬
nate thumb and finger extension and retraction, producing the compound-
movement , adapted to easy, graceful, current writing.

The finger-movement, purely as such (as has been stated in a pre¬
lesson), scarcely exists in the specimens of the read}' writer.

It is the most useful and practical,

vious

is cramped, slow and labored.

PRACTICE.

Copy i (. Ledger entry at top of Plate jo). This ledger account
contains three sizes of writing. The heading, consisting of the name,
for the sake of prominence, is written on a scale of eighths of an inch ;
the short letters being one-eighth, the semi-extended two-eighths, and
the capitals about three-eighths. The Dr. and Cr. are on a scale of
tenths. The entries below are on a scale of twelfths, and the writin
space occupied by the height of capitals and extended letters is three-
fourths of ruled space, or the space between ruled lin es.

Ledger-paper, or paper ruled in columns like the copy, is most suit¬
able for this practice. Be careful to give the figures their proper places
in the columns.

Copy 2 (beginning for Articles of Agreement at bottom of Plate 8 ).
This presents a body of writin

for practice. The first three words,
for prominence, are written on a scale of eighths, and shaded through¬
out. Care should be taken to shade the down strokes uniformly as to

strength.

All that follows is written on a scale of tenths, and the

capitals and extended small letters occupy three-fourths of the ruled
space above line.

body of writin

formity of shade, are indispensable.
Write

regularity of size, slant,

spacing, and uni-

CD J

again and again, gradually increasing }'our speed until you

rapidity combined with legibility and pleasing

good practice to copy freely from books and
write from the dictation of another
many words

The

surely attain
It is

newspapers, and to
note of time to ascertain how

takin

} ou can write on an average per minute and execute well.

a high rate of speed in writing is to practice for it.

3 (.Business Capitals at top of Plate 12).

your caieful study and practice.

wa}' to reach

Copy
Plate for

We commend this

WRITING.

INDIVIDUALITY IN HANDWRITING.

Individuality in chirography is in a great measure due to individual
modifications of the forms learned while under instruction, the selection
of forms of letters from the variety presented for consideration, and the
physical characteristics of the writer.

The small letters afford but a
mit of numerous variations in form, proportions,
open up quite an extensive field for choice.

The Plates of this Compendium, with the many different styles
therein exemplified, should prove a valuable aid to those seeking to
form a strikingly tasteful, characteristic handwriting.

In aiming at individuality, much care should be exercised to avoid

those extremes which render the style illegible, grotesque, or extrava¬
gant.

limited variety ; but the capitals ad-

and shading, which

FINAL SPECIMEN.

At the

of this course of lessons you were requested to
write a specimen showing your penmanship then ; this being the last
lesson of the series it is in order, if you have followed the. lessons in

theory and practice, to write a final specimen, and, by putting it in
comparison with the first, show the improvement which has been made.

SUPPLEMENTARY PRACTICE.

Further practice on plain writing is provided as follows : Business
Letter {Plate 8 ) ; Receipt, Bill of Purchase, and Promissory Note

{Plate <p) ; two-line copy and Cash Book entry {Plate id) ; Single Entry
Day-Book {Plate 11).

The ambitious learner, who would become

an adept and perhaps a

teacher, will find ample instructions and examples in the various de¬
partments of Penmanship in the pages followin

the eighteen lessons.

Now the good hand, imbued with useful skill,

May stamp the deeds that fill Trade’s busy day ;
Or, o’er this pleasant pathway passing still,

Cull the fair flowers that blossom by the way.”

PRAGTIGAL,

It is the most useful and practical,

or muscular movement .

the forearm

and requires persevering discipline in order to make it available.

the forearm-movement, may be allowed a slight subordi-

Attendin

nate thnmb and finger extension and retraction, producing the compound-
movement^ adapted to easy, graceful, current writing.

The finger-movement , purely as such (as has been stated in a pre¬
lesson), scarcely exists in the specimens of the ready writer. It

vious

is cramped, slow and labored.

PRACTICE.

Copy i ( Ledger entry at top of Plate jo). This ledger account
contains three sizes of writing. The heading, consisting of the name,
for the sake of prominence, is written on a scale of eighths of an inch ;
the short letters being one-eighth, the semi-extended two-eighths, and
the capitals about three-eighths. The Dr. and Cr. are on a scale of

tenths. The entries below are on a scale of twelfths, and the writing

space occupied by the height of capitals and extended letters is three-
fourths of ruled space, or the space between ruled fines.

Ledger-paper, or paper ruled in columns like the cop}^, is most suit¬
able for this practice. Be careful to give the figures their proper places
in the columns.

Copy 2 (beginning for Articles of Agreement at bottom of Plate 8 ).
This presents a body of writin

for practice. The first three words,

for prominence, are written on a scale of eighths, and shaded through
out.

Care should be taken to shade the down strokes uniformly as to

All that follows is written on a scale of tenths, and the

capitals and extended small letters occupy three-fourths of the ruled
space above fine.

strength.

In a bod}'' of writi

regularity of size, slant, spacin

and uni-

ne‘

formity of shade, are indispensable.

Write again and

again, gradually increasing your speed until you
surely attain rapidity combined with legibility and pleasing uniformity.

It is good practice to copy freely from books and newspapers, and to

write, from the dictation of another, taking note of time to ascertain how
many words

you can write on an average per minute and execute well.

high rate of speed in writing is to practice for it.

3 (Business Captials at top of Plate 12).
your careful study and practice.

The

way to reach

Copy
Plate for

We commend this

WRITING.

INDIVIDUALITY IN HANDWRITING.

physical characteristics of the writer.

The small letters afford but a limited variety ; but the capitals ad-

which

mit of numerous variations in form, proportions, and shadin
open up quite an extensive field for choice.

The Plates of this Compendium, with the

many different styles
therein exemplified, should prove a valuable aid to those seeking to
form a strikingly tasteful, characteristic handwriting.

In aim

at individuality, much care should be exercised to avoid

those extremes which render the style illegible, grotesque
gant.

or extrava-

FINAL SPECIMEN.

At the beginning of this course of lessons you were requested to
write a specimen showing your penmanship then ; this being the last
lesson of the series it is in order, if you have followed the lessons in
theory and practice, to write a final specimen, and, by putting it in
comparison with the first, show the improvement which has been made.

SUPPLEMENTARY PRACTICE.

is provided as follows: Business
Letter (. Plate 8 ); Receipt, Bill of Purchase, and Promissory Note
{Plate g) ; two-line copy and Cash Book entry {Plate id) ; Single Entry
Day-Book {Plate it).

The ambitious learner, who would become an adept and perhaps a
teacher, will find ample instructions and examples in the various de¬
partments of Penmanship in the pages following the eighteen lessons.

Further practice on plain writin

fc>

Now the good hand, imbued with useful skill,

May stamp the deeds that fill Trade’s busy day ;
Or, o’er this pleasant pathway passing still,

Cull the fair flowers that blossom by the way.”

PRAGTlGAr WRlVlNQ.

POSITIONS AT THE TABLE FOR WRITING.

The general position of the body in the chair; and of the feet

upon

N the course of lessons just completed the Front Position is the one the floor; the posture of the arms in respect to each other and to the
specially taught, as being the most generally practicable for all

paper; and the method of penholdin
the positions, and essentially the
Fessons for the Front Position.

are alike, or nearly so, in all
same as explained heretofore in the

f *

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FIG. 49 *

Front Position at table, as seen from

FIG. 52.

above.

Ri^ht-oblique, or Partial Right-

side Position.

Right-oblique Position, seen from

above.

FIG. 48.

But there are circumstances in which other positions are pre¬
ferred, and we therefore present here full illustrations of each, repeatin

Front Position.

classes.

When another posture is assumed for writin
hands, and paper all move together so

same position as before in respect to each other; but in respect to the
table their position is changed.

the body, feet, arms

}

as to preserve essentially the

fc>

-•

Ur.

<•

FIG. 50.

Right-side Position, as seen from

Left-oblique, or Partial Left¬

side Position (sitting).

above.

FIG. 51.

also the cuts given in Fesson I. to make the series complete,
tell their own story clearly, needing but few words of explanation.

Right-side Position.

Of these changes of the writer’s attitude in respect to the table,

The cuts

there are four chiefly noticeable; resulting in the positions here illus-

the Front, Right-side, Right-oblique or

trated, known respectively

PRAGTlGAL, W RIGAN Q.

or Partial

RIGHT-OBLIQUE POSITION.

In the Right-oblique, or Partial Right-side Po¬
sition (Figures 52 and 53), the body is turned
obliquely with the right side nearest to the desk ;
the manner of holding the arms and placing the
paper being changed in unisou, as shown in Fig.

This is a medium between the two positions
first explained.

Partial Right-side, and Left-oblique
Left-side, or Accountant's position.

In all the sittiu

front and level upon the floor ; the body

positions the feet are to be

• n ^ -

• t

- - ^ n « „

placed in

to incline a little forward J^rovi the hips , lint to be

the shoulders should be

in other respects erect ;
square, the chest full; the left arm and hand (the

latter resting upon the paper, to keep it in place)
be about at right angles to left edge of paper,

• JL

53 ■

/ •

P-'

y ///

f/r ' /

I :

r I p cu

LEFT-OBLIQUE POSITION.

7 ,

and the right arm and hand at right angles to
lower edge of paper, approximately.

1 ~

///

> -

» •

% »

)

Z -

•l

7 - \

V/4

i^\

The Left-oblique is also sometimes called the
Partial Left-side, and sometimes the Accountant’s
Position. (See Figures 54, 55, and 56.) In tak¬
ing this position the body is turned obliquely to
the table, with the left side nearest to it ; and the
arms, hands, and paper change their places cor¬
respondingly until the lower edge of the paper is
parallel with front of desk. This attitude is more
especially adapted to writing upon large books
which need to be kept square with the edge of the
desk, and the position of the writer accommodated
to them. Fig. 56 is designed to represent a per¬
son writing thus, standing at a high desk.

It will be noticed that in the Left-oblique posi-
tion, unless the paper is placed so that the fine
being written is well up from the edge of the
desk, the muscular test of the arm must be nearer
the hand than in any of the other positions. An
artificial device is sometimes employed to obviate
the diffi culty referred to, when writing upon the
lower lines of books. It consists simply of a strip

<•<

f’

? fVi.'r

/ v

s'.

* V j

* A >

* »><■*

_ •

•< •

7-h

- ^

-HV

* XV.

IG A

)/ f* \ f!

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•* *

* f

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4 9

C r c

FRONT POSITION.

In the Front Position (Figures 48 and 49),
which is perhaps the most generally taught and
approved of any, the writer sits square before the
table, the front of his body parallel to the edge of
desk, and near it, without quite touching; the
arms rest equally upon the table, and the paper is
placed obliquely, at such an angle (see Fig. 49)
that the down strokes of the writing shall point
towards the middle of the body. We believe this
rule for the position of the paper relative to the

body is equally applicable whatever attitude the
writer chooses.

; l / - *

•••

rMk

c \m

ATI

h. S

_ j

•A.

iV.r

AT,

■ v

. #

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RIGHT-SIDE POSITION.

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This position (Figures 50 and 51) requires less

desk room than any other, and favors the
tenance of

III'-

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;

Vi#

main- !

• —

uniform position in a class. It is

The riofht

vru •

therefore much used in public schools,
side is turned directly towards the desk in the

Right-side Position,

t- «

• w

of board with, one end thick, and the remainder

thin. The thin portion

though without touchin_

while the left edge of paper is parallel to front
edge of desk ; and the

which is the greater part
is slipped in beneath the leaves being written on

fc >3

eii£

leaving the thicker end out and projecting below

arms and hands (see Fig.
50) keep the same relation to the paper as in the

the lower edge of the book, to serve as an arm-

FIG. 56.

Left-oblique Position, standing ; or
Accountant’s Position.

Front Position.

:i3.v- ^

^ *•

*• • •-

nniGRAPHi.

Notice that the lines on connective slant whose
lower ends are at A, B, C, D, B, and N, in the cut, are given a curve
such that they are tangential to the base line, or nearly so, flowing out
of it easily and naturally. The corresponding lines, K, L, M, etc., in
lower part of cut, on the contrary are not sufficiently curved to coalesce

gained from Fig. 57.

THE EXPRESSION OF WRITING.

T is not proposed to here consider the subject of writin

either as an expression of speech and thought, or of the

physical and mental qualities of the writer,
teresting subjects, but what we have to say in this place with and flow out of the base fine, and look stiff and lingraceful.

Those are in-

refers rather to those outward qualities that are stamped
the face of the art, and render it more or less attractive to the

upon
eye, -

The matter of legibility has been perhaps already sufficiently noticed,

such as grace, elegance, boldness, spirit, and the picturesque.

in the lessons.

In the medium standard handwriting, very properly, those qualities
are mingled in such just and even balance that no one of them is
specially pro min ent; but as we change the standard models in one
way and another, the various characteristics begin to make their ap¬
pearance.

Curvature of connecting lines.

We may go a little further here, and consider how the connecting-
curves and the down strokes, in the small letters, may be so shaped ivith
reference to each other as to make them best harmonize, and so enhance
the grace of the writing,
that the larger part of the down strokes of the small letters are straight
fines, still, if grace were the thing most essential to be aimed at, we
would doubtless say that none of those strokes should be exactly

GRACE.

In respect to grace, slenderness of proportion, with ease and refine¬
ment, mark things of this character. Hence smooth, fine fines ; shades
not above the medium ; curves neither too full nor too thin, and at the
same time free and harmonious ; and capitals and loops high in pro¬
portion to the short letters, tend to hnpart to writin
of grace.

While it is taught

and probably wisely

the appearance

straight, but rather the sides or parts of the sides of ovals, or of loops,

Rough, thick fines, heavy turns, excessive shades, and capitals and whose other sides would be formed in whole or in part by the connect-
loops too short and broad, are destructive to grace.

Bines not sufficiently curved are wanting in ease, and therefore as graceful writin
ungraceful as those curved too much.

ing fines.

Bet the reader interested in calligraphy examine the most

with which he is acquainted, with this idea in mind,

59, under head of Sign Writers’ Script, further

But there is a mediitm of curv-
An idea in this connection may be

and look also at Fi

£>•

ature givin

just the right result.

on.

galljgi^aph y.

ELEGANCE.

cui-ve or dash not laid down by the teacher, still the
ant life expressed through the

pleasin

exuber-

Blegance is in some respects akin to

lacks the full ease and freedom essential to the latter.

This quality in writing is enhanced by loops and capitals
tionately tall, by curves rather

together with

grace ; but in itself alone it

pen is likely to produce a result

very

are trained and the taste refined.

especially where the muscles

The sweeps of the pen i

propor-

spare, turns sharp, and light shading,
precision and uniformity. It needs also fine stationery,

Anything like crowd-

spirited writin

recall the curves shown -
or by animals of graceful form, in rapid motion.

sweep of the lines, also, it would be well for the

by the

waves
lation to this

„ , t0 refer a § ain t0 the P° int illustrated in Fig. 57 , and consider how far

th 011 p-h , the WOrk “ ay be made m ° re harmonious - P leasi *g. perhaps spirited,

ough deficient in the | by the curves flowing out, as it were, from a common line.

In re¬

reader

wide margins, and ample

room

ing any part of the work is inimical to elegance*
is an example of an elegant style of writin

vital point of legibility.

BOLDNESS.

Boldness and strength are exhibited in firm lines, full curves, letters
of ample width, vigorous shades and striking contrasts,
pointed pens help this expression in writing.

THE PICTURESQUE.

The Picturesque is likewise
itself in connection with the others.

a quality that may more or less exhibit

The

coarser

It replaces

with artistically graded variety and contrasts.
and even to some extent in

uniformity in writing

In form, size, shade, —

it admits variety ; not a chaotic
variety, but a variety subject to the law of gradation ; and which tends
to produce upon the beholder

spacing

SPIRIT AND DASH.

as well as the

These characteristics,

one just mentioned,

arise

impression like that of a pleasin

largely

m unstudied writing, from the physiq
natural movements of the writer.

temperament, and picture.
Spirited chirography is the product

A piece of writin

to be picturesque, should have a principal or

in general of

light, free, rapid movement,
It may be present with each of the other

not lacking in strength.

leadin cr

letter, a principal shade, etc.

more prominent than the rest,
and to which the latter are subordinated in tasteful gradation.

Contrasts promote variety, and hence aid in producing a picturesque
effect ; but there should be a gradation of the contrasts.

qualities mentioned

cep ting, perhaps, elegance. Though spirit often trans;
of uniformity, and in the speed of execution throws i

m now and then

GAL^LIQRAPHY.

In a body of writing this reduced size of the short letters tends to
make the capitals and loops seem taller and more graceful, and the
eneral appearance of the writing to be more iu keeping with a hand
suitable for ladies not choosing the medium business-hand.

In the first set of capitals, the shades are mainly on the outside or
larger curves ; in the second set, on the inside curves ; and in the third,
upon the reverse or ascending side of the curve. The first alphabet is
the plainest and boldest; the second surpasses the first in finish and
refinement; but the third, the Ladies’ Italian, is the most graceful of
them all. That style is not, however, so quickly or easily written as
the others, the position of the shades making it necessary to put them
in after the formation of the letters. The shades upon the small letters
in the same hand are to be made similarly.

As an illustration, in addition to those afforded by the Plates, of

as applied to script in one of its varieties,, we take

Fig. 58, a slip penned many years ago by
whose writing was justly celebrated for that quality ; and in the

the picturesque

pleasure in presenting, in

one

exemplification of which it is still perhaps unsurpassed.

We have now noticed, in turn, some of the chief attributes that ren-

Between the quality of

der script attractive and pleasing to the eye.
the writing and the sense it conveys there are often strange incongrui

A piece of penmanship full of freedom and spirit may set forth

sweet and graceful poem may be

ties.

thoughts vapid and lifeless
clothed in a chirographic garb rough and ungainly.

or a

In an ideally perfect script the style would in each piece be fitted
to and sympathize with the governing thought expressed; as the
sounds of the poet’s lines, when his art is at its best, re-echoes the

that, as perfectly expressed by Pope, —

RUNNINGHAND.

The freest and most spirited of hands, though not the most legible.
In the example given on Plate 15 the upper extended loop letters,
and the capitals in the body of the writing, are of the same height as
in the medium hand, and the short letters are about one-seventh
the height of the looped class. Outside the body of the note the capi¬
tals are mostly larger.

The short letters in runninghand may be made as large as one-fifth
the size of the capitals and looped class, by reducing the latter to
say three-tenths of an inch in height. Such a change would improve
the legibility of the writing, but perhaps impair its grace.

For points respecting the sweep of the curves, and specially applicable
in this hand, the reader may refer to what lias been said in relation to

and the accompanying illustrations, on a previous page.
The runninghand gives free play to the forearm movement, and is
a favorite with penmen for purposes of correspondence.

Soft is the strain when zephyr gentl}' blows,

And the smooth stream in smoother numbers flows;

But when loud surges lash the sounding shore,

The hoarse rough verse should like the torrent roar.
When Ajax strives some rock’s vast weight to throw,

The line, too, labors, and the words move slow;

Not so when swift Camilla scours the plain,

Flies o’er the unbending com and skims along the main.

It would hardly do to claim that writing in its outward form can
be made to sympathize with the sense, so far as Pope shows that the
sounds of words can; but there is a true and happy hint in his lines,
worth heeding by the penman as well as the poet.

spirit in writing,

VARIETY OF STYLES.

LADIES’ HAND.

WHOLEARM STYLES.

In the Ladies’ Hands presented on Plate 13 the capitals and upper

loop class are four times as high as the short letters, the height of the
latter bein

The Plates from 16 to 33 inclusive, beginning with exercises, con¬
tinuing with alphabets and words, and ending with forms of connected

one-fourteenth of an inch.

If the small letters are ex

tended more horizontally, something as in runninghand, they may be writing, in which off-hand capitals are mainly employed, offer a quite
readily made as low as one-sixteenth of

cal-

full presentation of the matter of wholearm letters, as applied in

inch, and the capitals and

extended loops five-sixteenths iu height.

ligraphy.

<3al,l,iQraphy.

We say calligraphy ; for, in plain business writin
have properly little place. They are struck either for the beauty there

is iu them, or for the efficient exercise they afford the muscles pre¬
paratory to more practical work.

The wholearm movement, the one used in executing most of the
capitals in those plates, has been sufficiently explained in the lessons
upon practical writing where its employment is recommended in a part

wholearm letters point towards the middle of the body. The Abbott Back Hand might

also be written by holding the pen in the hand something as in flour¬
ishing, with its hollow facing the right end of the ruled line.

The back hands are very legible, but not so well suited to easy,
rapid, execution as those sloping to the right.

c r

& i

ANGULAR HAND.

of the exercises.

The slant of the angular hand is considerably greater than that

of most other styles. In the letters upon Plate 39 the down strokes
and its practice so fascinating, that one needs to be on his guard mostly stand at

against devoting too large a proportion of his time to it. For while The short letters upon the Plate are about one-twelfth and the ex-

The products of this movement are so beautiful, when well done,

angle of forty-five degrees with the ruled hue.

such practice trains and strengthens admirably- the writing muscles,

tended loops and capitals, four-twelfths of an inch in height.

the peculiarity of the height of the d in proportion to that of the p
and one style of t.

This hand is almost devoid of shades, and hence lacks the vivacity

which they help to impart; it is, however, a neat hand when well

written, and not without elegance, though as to legibility it often proves
very tryin

Notice

yet when the eye and hand thus dwell upon large forms exclusively,
they are likely to become gross in perception and capacity, and fin d

difficulty in seeing and adjusting themselves to work of a smaller and
more useful size.

For one who has fallen into such a state, the
best remedy is to turn to the execution of quite small writin
time, until the finer sense is regained.

for a

FRENCH ROUND HAND.

This handsome and useful style of writin
seems something like both,

ones of steel, and of graded sizes, are manufactured ; but the pens may
be also home-made of quills in the same manner as explained for text
pens, in the instructions relating to lettering.

The capitals and upper looped letters are twice and one-fourth, and
the figures once and a half, the height of the short letters. The cross¬
ings of the loops are, as in medium standard script, upon the base line
for the lower loops ; and for the upper, at the height of i above.

In medium proportioned letters of this style, endeavor to make the
small o so that its inside will be a circle. Observe in the large out¬
lined letters, at the ends of the next to the lowest line upon the Plate,
how the 0 form governs more or less the shaping of the a , c, s, and d.
It applies also in the g, p , and <7.

The connecting lines of the small letters are of about the same slant

ITALIAN HANDS.

or printing,
is executed with a broad pen.

for it

To execute the Italian Capitals (.Plates 3# and 33)

the position

of the pen and the movement are the same as in flourishing, and
illustrated and described under that head.

Good

In the small letters of these alphabets, where the shades are upon

the upward fines, they are generally put in after the letters are formed ;
but by holdin

the pen as in striking the capitals,
they may be made at once

though res tin
by one sufficiently skilled,

the arm
without retouching'.

BACK HANDS.

In the hands engraved on Plates 37 and 38 the slant of the

body fines of the letters is about twenty degrees to the left of the

perpendicular, while the connecting lines in the short letters are about
vertical.

In writing back hands, the paper needs to be more nearly in front

than in writing upon the ordinary slant, and should be turned with its
lower right corner nearest the writer.

in all; and the hair lines of the capitals follow largely the same rule.

edee of the

In other words, observe the gen¬
eral rule to place the paper so that the down strokes of the letters may

To this general slant of the fine fines the writin
pen is adjusted ; and it should maintain substantially the same angle

GaL/L/IQrap piy.

figure 59 shows the relative heights of the small letters upon

The capitals are not usually made higher than the ex

throughout the stroke, letter, word

(See Fig. 68, in the

taste.

base line of the writing
in the same manner as

with the
an d line,

instructions upon Fettering.)

In executing this style the pen may be held very much as m

hand needs to incline more to the right

and the fingers to be brought more into action.

than the texts, and is useful in

the Plates.

tended loops of the small letters, h y /, etc. ; but, on account of the

peculiar form of the word used in

the 6* a little higher, to prevent its appearing too low and small.

in text.

the cut, it seemed necessary to

carry

Such variations are admissible, and indeed required in places to pro-

but the

ordinary writing ;

than usually taught,

This hand is more readily written

lines and sometimes for a body of bold engrossing.

duce the most satisfactory results.

It will be noticed, also, in the alphabets that the highest curves of

a little above the

headings, leading

the 3 , F, M, and a few other capitals, extend

If they were brought down to the same

eneral height of the letters.

SIGN WRITERS’ SCRIPT.

An authority upon sign painting pronounces script the most beau
tifhl of all letters for signs.

much difficulty will be found in mastering it; but whoever can paint

height, in those cases either the form of the letters would be mined

or they would appear too small.

The slant of the body strokes of the short letters, as indicated by the
oblique straight dotted lines in Fig. 6o, is the same as taught for the

standard medium hand,

that

He also says of it for that purpose

l (

The straighter sides of

fifty-two degrees.

the strokes for mi ng' the u and the first part of the it are on that slant

* -

ri t •

»i

• —i •

Notice that point carefully ; and still

more care-

» II O-l* I

shown in the cut.

fully how the last body stroke of the ?i is adjusted to the slant line.

another lesson intended to be taught by Fig. 6o, and it

It is, that

a 4 sin 111 • •

There is

0*141 1 " * *

is hoped that the dotted curves will make it apparent.

in the body strokes of the small letters one side at least, and in some

both sides, are portions of ovals, of which the light or ascending

A little study of the cut and

• • I v** ^ V* «

•» n t % ft* tt ^

Proportionate heights of script for Signs and Headings.

FIG. sg.

lines form other and opposite portions.

beautiful script sign will not be long in making a reputation
sign painter.

have been due as much as airything to the lack of good models and
instruction.

as a

it, to which he refers, may

The difficulty in masterin

7 J

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t *.

I '

• •

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~ %

• I ? • I • • 4 **

> • • ^ ^

r\ m % m

Some painters of signs have been quite successful in their work
modelled after the style of script presented upon Plate 41, and the
five following it. What is furnished upon those Plates is. not fanci-

* * • 1 •

ful, but the result of study and practical experience in laying out or
furnishin

• I %

• • "

1 *

4 > y

; 0

copies for that class of work.

* •

FIG. 60.

For use in signs the capitals and looped letters should never be

made lower than twice and a fourth, or taller, we think, than three
times the height of i.

legibility, and the latter

The carryin g
The principles of

the letters upon the Plates should make this idea clear.

of it out adds greatly to the beauty of the script,
slant and curvature illustrated in the cut with u and n are of course

The former proportion is more favorable to

Legibility is of special importance

m signs, and for that reason we have made the short letters in the
alphabet presented, as high proportionately

intended to be applied throughout the alphabet.

possible, consistent with

4 6

GAtytylQtyAPHY.

In the most perfect work the hair lines are not of just the same
thickness throughout their length, but vary somewhat accordin

size of the curve, and are also broader on the sides of the ovals and
thinner at their ends.

length, the sweeping curves shown in one style of

Plates, may be used instead. But in a place where such a finish would
be inadvisable, it is better to make the loop of its full size for a short
distance downward, and then let it stop unfinished,
second styles of f and

y, and f, on the

& i

to the

Care should especially be taken that the hair
line be not too thick at the turns of the small letters.

as shown in the
rather than to complete it short

Heaviness at

on Plate 43,
of its proper length and disproportionate.

the turns destroys the spirit of those letters.

In sign writing it is a common fault to make the capitals too weak
for the small letters. The curves of the capitals should be full, their

main parts and proportions bold and ample, and their shades stronger
than upon the small letters.

The boards for script signs should be wider than those where let¬
tering is employed, on account of the greater proportionate height of
the longer class of letters.

Where room cannot be obtained to give the lower loops their full

A good drawing of the script should be secured before the paintin

Unless the painter is experienced in that

of the sign is commenced.

class of work, the drawin
paper and thence transferred to the siem.

had better be put into shape upon large

In addition to the styles of capitals

i'iven upon the plates devoted to
sign and heading script, ample variety of forms will be found.upon Plate

19, and those following, that may be made readily available for the

pose by increasing the strength of the shades and boldness of the

pur-
curves.

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FLO

• • •

r HB art of Flourishing belongs to the domain of

Ornamental Penmanship, and therefore finds its
votaries mostly among professional scribes, and
those who love the works of the pen for them¬
selves and for the beauty there is in them, in¬
dependent of the demands of use.

Few arts require for their successful practice
& quickness of eye, readiness of hand, and a more defi-

3 * nite conception of the thing to be done, than flourish-

^ ing. It is, in fact, drawing at full speed, the mind
' and eye followin

correct.

5 *

.YS

at equal pace, to guide, criticise, and
It thus affords, when judiciously practiced,

effective disciphne of the faculties employed in writing,

and is therefore of some use to the professional penman

and adept, beyond its value as an accomplishment.

Still, it is hardly recommended that those in quest

only of a good business handwriting should seek improvement therein
by cultivatin

the art of flourishing; for the attractiveness of the
latter is apt to lead to its receiving more than its due share of atten¬
tion, to the neglect and detriment of the more useful art.

MATERIALS.

should be of a smooth, firm surface, and is
In using those of Whatman’s manufacture,

Paper for flourishin
best well-seasoned.

too

expensive for mere practice, but often employed for exhibition pieces, —
choose the hot-pressed in preference to the cold-pressed, the latter being
of too rough a finish.

- The pens need to be flexible, of the best tempered steel, to yield a
live, ready spring, and the point should be of the smoothest finish. The
Spencerian pens, Nos. i and 24, have been found by penmen to meet
these requirements, and are justly held by them
in high esteem for flourishing, as well as writing.

The ink used should be of a quality to flow
freely, dry smoothly, and be sufficiently dark
even at first, to show clearly what is being
done. As the ink exhausts rapidly from the
pen in flourishing, a simple device, shown in
Fig. 61, is sometimes used to retain a small
supply and obviate the necessity of constant re¬
plenishing. It consists of a small conical spiral,
which may be made by winding fine wire closely around the end of a
pointed stick. The wire extends upwards from the larger end of the
spiral and is inserted in the holder, as shown.

POSITION AND PENHOLDING.

The position of the body, of the feet, and of the arms (except that
the right one is held above the table), should be the same for flourish¬
ing as described for the “front position” in writing.

FLOURISHING.

For the sake of health try to keep the chest full, leaning forward
from the hips, without bending the back. And for the same reason,
as well as for the protection of your paper, when so large as to
overlap the front edge of table, do not lean against the latter, though
the body must be close to it.

The left hand rests upon the paper to hold it in place, and to
shift its position if required. The paper does not, as in writing, retain
always the same position in relation to the right forearm; but may be
varied with the varying directions of the lines and shades. The curves I help.

An examination of Nos. 2 and 3, Plate 47, will readily show how

just described,

the methods they illustrate differ from that of No.
and from each other. In No. 3 the third and fourth fingers are bent
under, something as in writing, and the nail of the last finger touches
the table, forming a light gliding rest,
what the freedom of movement, and tendin

This rest, while limiting some-

to mar an occasional

undried line, still may be used when the muscles of the shoulder
not yet sufficiently developed to poise the arm steadily without such

are best struck when the forearm is about at right angles to the shade
at its thickest point, and the paper may be turned any way, in the
progress of a design, to secure that position. It must not be under¬
stood that the position of the paper can
of a line.

ELEMENTARY FORMS.

In analyzing the forms employed • in flourishin

we discover that,

C r

unlike writing, drawing, and most other graphic arts, the straight fine
be shifted during the execution scarcely enters into their composition.

The change must, of course, be made just before the strik

And where it is sometimes met

with, as in the engraved examples of the old English and German
masters, it seems to have been used merely as a slight accessory, and
to have been done by ruling or drawing, and not in the usual manner
of flourishing. Beyond an occasional touch or dash, the straight line
has, indeed, hardly a place in the art of flourishing. The only in¬
stances of its use with the flourished designs in this work are in the
scroll and horizon line on Plate 52.

There is no objection to flourishing being thrown about a rectangle
or other geometrical figure bounded by straight lines. A tasteful com¬
bination of that sort may even have a pleasing effect, the contrastin

the beauty of the curves. But geometrical
figures so used are of course to be drawn , either freehand or with
instruments, and so, while appearing in connection with the flourishin
cannot be rightly considered a part of it.

Curves, therefore, are almost the exclusive elements of flourishing:

ing of the line or group of lines whose position requires it.

In writing, the shades are usually made by the pen while moving
leftward and downward towards the body. The shades in flourishing
are done while the hand is tending in a direction opposite to that
nearly so.

This difference in the waj r of layin

the shades requires a corre¬
sponding difference in the mode of holding the pen, so that its hollow
may always face the general course of the shade.

The masters of the art of flourishing do not all advocate precisely

the same style of penholding, but illustrations of the methods most straight lines enhancin
approved are given upon Plate 47.

Of the three modes there shown,
that numbered 1 is believed to be as good as any, if not the best.

all these positions the hollow of the pen is turned rightward and from
the body, the tip of the holder inclinin

direction. In the method of holding the pen recommended, (shown in

towards the table in that

And the curves which, taken as wholes or in parts, and variously pro-

Plate 47, No. 1,) the pen is taken, about one and one-half inch from portioned and combined, make up the great body of its forms
its point, between the end of the thumb and of the second finger:

Above, the holder passes between the first and second finger

are the

Loop and the Spiral. The penmen of early times seem to have thought
much of the spiral, both in writing and flourishing, while the forms
derived from the loop are more in favor with the moderns.

When produced upon a plane surface, as in penmanship, the loop
curves and their derivatives appear to excel the spirals in spirit, variety,

and freedom. This may arise partly from the fact that the spiral is
made from a stationary center or evolute, about which it winds or .

crossing

the latter at the middle, and the former between the middle and ter¬

minal joints. The third and fourth fingers are drawn upward,

to be clear of the paper. The arm is lifted from the table, kept free

from the body, and swings clear from the shoulder, as in the whole-
arm movement in writing.

so as

P'LOURISHINQ.

uiiwinds ; while the loop is a progressive curve ; that is, its center is
not fixed , but continually moving onward. This fact appears to show
a superior adaptation of the loop curves to writing; as the hand moves
onward, borne by the movement called forearm, carrying the center
from which the curves of the letters are largely executed. The same
fact helps us also to understand why previous to the use of the so-
called forearm movement spiral curves were more in favor for writin
The flourishes upon Plate 48 are derived almost entirely from loops ;
while those of Plate 11, except the three at base and the one in the
. middle, are mostly from the spiral.

shaded and unshaded, and of graded sizes, may be combined in groups
similar to those shown in Fig. 62.

flourished by employing little else than those simple

Continue the practice with the Exercises given on Plate 48 and
those following, or with selections from them.

Lines of text are sometimes neatly

curves.

Remember that the
mastery of a few forms tends to increase your power to execute the

£>•

COURSE OF PRACTICE.

A good course of practice for the beginner in flourishin
by, or may be selected from, Plate 48 and those succeedin
be well, however, to make the first attempts upon elements simpler
even than the simplest there given. The learner may begin with sim¬
ple curves, like those shown in Fig. 62, practicing as follows,
first a downward curve, about the size of the middle one in the left
group of Fig. 62 ; strike a series of them of one length, without shade,
arranged in columns, and about as far apart as in the cut.
some half page of such practice (which may be upon foolscap paper),

is-presented

It might

Position of Pen relative to Shaded Strokes.

Take | others. Criticise the quality of your lines, the accuracy of your curves,

and the smoothness and taper of your shades unsparingly. Let the

pressure of the pen upon the paper be light and perfectly even, and
After where it is increased for shading it should increase steadily to thickest

point, and then as steadily decrease to termination,
shading is not rightfy managed it is apt to turn the pen out of its
true course and destroy the symmetry of the curve.

When the learner has difficulty iu placing the shade upon the right
part of the curve, very likely it may be due to his pen’s not beiu
turned in just the right direction. The axis of the pen (viewed from
above) should be parallel to the general direction of the shade, or,
what amounts to the same thing, vertical to a line drawn at right
angles to the shade at its thickest point. See the three illustrations
of this point in the accompanying Fig-nre, 63.

The exercises on Plate 48 are composed, as before mentioned, mostly
Afterwards of the Loop element various^ formed and combined. Figs. 1 and 2 of

that plate exhibit the loop in its simplest form, direct and reversed.

The curve which repeated produces the Exercises 3, 4, and 5, is a
part of a loop, as shown by the dotting in Exercise 3. The arrows
on Plate 48 and the next, indicate the direction the pen is to move,
and hence at what part of the exercise to begin. To flourish Exercises

If the pressure in

FIG. 62.

Simplest Strokes in Flourishing, for First Exercises.

vary the exercise by makin

the curves of several lengths,
add shade, striking the curves first of one size and then of varyin

sizes, as before.

Now alternate the light strokes with the shaded

may now be taken up and practiced upon in the
And the right curve, left curve, and double curve

ones.

The upward curve

same way.
receive similar attention in succession.

can

Finally the various curves,

F^LOUF(lSHINQ.

Plate 51 presents a bird with its head to the left, instead of to
the right, as in Plate 50. Beginning at their left end, as before,
12, 13, and 14, are strike the upper curves, first of the nearer wing, then of the other.
Nos. 1 and 2 give simple forms of this Now add, either by drawing or striking, the upper side of the neck
The Exercises on this plate begin at the and beak, and we have made the beginning shown in diagram 1. As

the diagrams show the successive steps, it is unnecessary to add more
11, strike first the largest curve in than that, as before, the long curve from the lower point of beak to
the first third ■ next the two similar curves inside of it; then the tail, may be drawn, as well as small details like the eye and finish
largest of the curves to its left; follow with the light strokes and of the beak,
touches in upper portion, leaving those in lower till afterwards. Now
begin the second third of exercise by striking its main curve, and then
the others in like order as before, repeating the same order for the last
third. Exercise 12 and lower half of 13 are to be done in like manner.

The upper half of Exercise 13 is to be flourished clear through before
beginning lower half. For Exercise 14, turn the paper quarter round,
and begin with the largest curve.

After some mastery is gained of the position, movement, and ele¬
mentary strokes and curves of flourishing, it is well to take up first
the Italian capitals, given on
practice ; but the ‘ ‘ Intricate Italian

attempted at this stage, or until considerable skill is attained.

Plate 50 presents a plainly flourished bird, and illustrates in dia¬
grams of reduced size the successive steps in its execution,
straight lines about the diagrams represent the edges of the sheet on
which the bird is being produced. It will be noticed that the wings,
which are to be first made, are about in middle of sheet. Beginning
each curve at its left end, strike first the upper .edge of the nearer
wing; then follow, in order as named, with the upper edge of further
wing, lower edge of near wing, and what shows of corresponding edge
of the other. The work now stands as in diagram 1.
is to add the upper curves of the neck and beak, and then the long
curve passing beneath under beak, neck, and breast, as shown in dia¬
gram 2. The lines last named, added in diagram 2, are often drawn
in ; as also the eye, the leg, and the finishing curves of the beak,

f .

added in diagram 3. Diagrams 4, 6, and 8 show the paper reversed, to
enable an easier execution of the part in order. The steps are simple,
and made sufficiently plain by the diagrams without further explanation.

16, and the left half of 5, the paper is to be turned half-way round
. before beginning.

The exercises on Plate 49, except numbers 11

of spiral derivation mostly.

element, direct and reversed,
left, as the arrows show, except number 7, which commences at the

In executing Exercise

right.

Plate 52. In the design at top of this plate, the bird is to be done
first, then the scroll, then the accessory flourishes, generally striking
the main curves of a part before the minor ones,
most of the ornaments to the last. For the order in which the parts
of this bird are to be executed, Plate 50 will furnish a guide. In the
other design on Plate 52, execute first the swan, next the water, and
then the outside curves. Of these latter curves, the larger ones are
to be struck first. In flourishing the swan, commence with the long
s-shaped curve, which, beginning at root of beak, forms under side of

It is well to reserve

Plate 34. They will afford excellent J head and neck and front of breast. The curves forming crest of head

on Plate 35 should hardly be and neck, the finish of the beak, and the eye, come next, in the order

named. Now strike the large curves of the wings, and next the looped
edge of nearer wing, beginning at lower end, or, by reversing the

The paper, at the upper. Then throw in the light strokes in the wings,

and finish with the tail. Notice how the ripple lines in the water

J ?

radiate from point of breast.

The pupil who has attended to the instruction now given will be
able, it is hoped, to guide himself fairly well in the execution of the
remaining examples. We may say, however, that the designs given
on Plates 53 and 54 all begin with the long curve, which, commenc-

The next step ing at root of lower beak, defines one side of the head and neck and

sweeps around the breast. In all three, also, the birds are to be done
before the quills, and then the accessory flourishes thrown in.

In flourishing on a large scale, like the eagles and antelopes occa¬
sionally met with, it is necessary to first draw in pencil, or transfer
upon the paper, a general outline of the figure. Otherwise the size of
the -work prevents the eye from grasping at once, as in smaller designs,
the different parts, and so keepine them in correct relation.

FLOURISHING.

MISCELLANEOUS PRECEPTS.

what before existed in Central Asia or India,
parent art had its beginnin
the offsprin

The earliest example that has fallen under our notice of what may
really be regarded as flourishin

bet of the twelfth century, engraved in Sylvestre’s works.

ments are simple, and do not indicate that the art had made more than
a beginning at that time.

But, granting that the
as he conjectures, it is not likely that

Among the additional points worthy of mention relative to flourish¬
ing are the following.

Avoid striking one shade across another, especially in its heavier
portion. This rule is not absolute, but well to be borne in mind.

It was a precept of the English masters, that there should be a
somewhat even distribution of strokes through the piece. A strict
observance of this rule would favor symmetry, but not spirit and vari¬
ety. It is evidently more applicable to the Knglish style than to ours,
which favors a gradation from closer spacing towards the central and
more interesting portions, to more open work, attended by lighter the specimens he gives, 'the flourishin
shading, towards the margins.

Excessive repetition of the same kind of curve or shade in succes¬
sion tends to monotony; while, on the other hand, too frequent
changes, particularly if abrupt, may impart a broken, disjointed appear¬
ance to the work.

There should be gradation in the size of the curves and in the
strength of the shading, the piece as a whole, as well as each member,
having its leading curve and shade, to which the others are subordi¬
nated, in gradually declining degrees of prominence.

came into existence till long after.

is in the ornamentation of an alpha-

The oma-

& J

Humphreys mentions that some rich examples of the art

were pre-

From

sented in England during the reign of Henry VII. (1485-1509).

he speaks of seems to have
consisted largely of very round spirals, and to have been used in
ornamenting capitals similar to those of German text. He adds that
this style declined in England as an art, though still used in the
headings of deeds even to the eighteenth century; but says, that
“in Germany it not only did not decline after the co mm encement
of the sixteenth century, but for a time developed itself with such
profuseness and success, that its examples form fine studies of the
harmonies of curved lines, and the' variety of effect to be produced
by their interlacings and contrast of strength and slenderness.

If we turn to one of the earliest engraved works upon penman¬
ship, that of Velde, published in 1605 at Rotterdam, we shall find
in the elaborate flourished capitals there given examples of the style
referred to by Humphreys. And besides this use of flourishes abstractly

1 )

SKETCH OF HISTORY.

We are not aware that any history of the Art of Flourishing has
ever been written, and doubt if—except for very recent times
adequate materials for such a history exist in this country,
we can offer is a few scattered glimpses.

The beginnings of the various arts are favorite objects of conjec-

any

Ail that as ornaments, we see them employed also in the representation of ob¬
jects ; as birds, the human figure, etc. Among other figures so produced
by him is that of a Dutch ship of the time, under full sail, plowing its
way through a flourished sea. These efforts, while not approaching the
We may be sure, however, that it could hardly perfection reached in later times, still exhibit a degree of excellence in-
have had an existence worthy of mention before the quill pen came

into use, allowing the requisite freedom of movement denied by the practiced,
instruments it replaced. The use of quill pens is said to have begun

ture ; but we have never heard even a surmise as to the origin of the
art of flourishing.

cheating that flourishing of that description had even then been long

The works of Cocker and Weston, published in England in the
era; and to the next century latter half of the same century, present flourishing of a character

the origin in similar to that of Velde, though little, if any, better.

I P r 1 _ °

But some influences

in the fourth century of the Christian
is ascribed by Humphreys, in his History of Writin

to )

Europe of decorative calligraphy, of which art flourishin
erly a branch. He admits, however,
calligraphy,

to have been at work at this period
that gave to the art in England a wonderful impetus. For, little
more than twenty years after the quaint and crude essays of Cocker,

is prop-

a probability that decorative
as first practiced in Europe, was but a modification of

FLOURISHINQ.

the admirable works of John Seddon appeared. The time of Seddon,
and immediately after, judgin
of such scribes as Clarke, Oily fife, Shelly, and others, must have been
an era of marked awakening among British penmen. But in the de¬
partment of figure flourishing Seddon was the ruling genius of the
time ; and, indeed, in point of variety, spirit, and originality, his works
are hardly surpassed by any other English master. Figures of birds
and beasts, dragons, and images of men and angels, sprung up under
his pen with marvellous facility.

Subsequent penmen pruned and refined the creations of this period,
but seem to have added little. They, however, greatly improved the

Italian or French method, and more nearly corresponding to ours, they
from his engraved works and those practiced also another which they designated as the Dutch or English.

In the latter the penholding and action of the arm were about as in
our wholearm movement (though perhaps without the finger-rest) ; and
the shades fell, as in writing, upon the descending curves, ! Both

methods were sometimes employed in the same design.

It is doubtful if any marked change or improvement has taken place
in the style of British flourishin
The earliest essays at flourishin

since the days of Tomkins.

in the English colonies of America,
were of course similar in character to those of the mother country.
Down to the time of our Revolution, and onward to well towards the

O’

flourishing of text: plain writing became more flowing and beautiful; middle of this century, there seems to have been little to distinguish
and the tangles of flourishes with which earlier masters had been wont the art as practiced in this country from that of England. But follow-

to surround and extinguish their script, were more and more omitted. ing in the wake of changes iu our national handwriting came corre-

Such was the course of English pen-art, so far as known to us, for sponding changes in the style of flourishing. These multiplied and
some seventy-five years from the time of Seddon. Then arose a mas- became more pronounced in the hands of successive masters, till at last
ter, who, perhaps less by originality than by his pure taste and cor- we have, as in writing, so in flourishing, a style distinctively American,
rect judgment in avoiding the faults of his predecessors and appre- How long before the other arts will achieve a similar result upon our
dating their beauties, produced works that have become classic among soil?
the productions of British penmen. This master was Thomas Tomkins,
and his published work, which is all we have seen of his, warrants
what we have said above. One of his productions, mentioned by the idea of continuity of curves,—a whole figure being often executed

Humphreys, was a splendid copy of Macklin’s Bible, presented with without lifting the pen. In the American style, on the other hand,

the penman’s bust to the British Museum ; and the headings of which separately executed strokes and curves make up the larger part of
he pronounces worthy to be compared with similar examples of the the work. It thus approaches somewhat
best medieval calligraphers. In writing an address which the Royal English manner, and admits a more pleasing approximation to natural

Society of British Painters presented to the king, Tomkins’ aid was forms,
called in, and the skill he exhibited in the work was so highly

appreciated by the artists, that the President of the Society, Sir

Joshua Reynolds, did him the honor to paint his portrait, which now imitation is the province of drawing.

hangs in the City Chamber of Eondon, surrounded by specimens of his of nature adapted to its capacity, leaving untouched or varyin

not so adapted ; and, other things being equal, that style of flourishing
is best which renders the most of nature’s beauties, without sacrificing

A leading source of difference between the old English style of
flourishing and the recent American is this: the English adheres to

drawing than the

It is not to be understood, from the last remark, that we believe a
close imitation of nature should be the aim in flourishing; for such an

Flourishing selects those features

o- those

calligraphic skill.

The old English penmen termed the art of flourishing ‘‘striking
or “command of hand’’ ; and besides a style of it, called by them the

J )

its character as an art.

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LETTERING.

jPETTERING with pen, pencil, or brush, and the
forms of printed letters, are the modern represen¬
tatives of the script of the olden time, when the

GENERAL PRINCIPLES.

One of the first things to be aimed at in lettering is an appearance
of uniformity . When considerable mastery of the art has been gained,
it will be possible to introduce variety into nearly all its features with

an appearance of uniformity
This is especially desirable in respect to the
type. But the debt thus incurred was afterwards heights of letters, to their widths, so far as consistent with their

well repaid when the tasteful and ingenious characteristic forms, — and also to their proportions.

Aldi furnished in their Italic print the hint which While this apparent uniformity is largefy secured through real
resulted in the beautiful current writing of later uniformity, there are important exceptions where it is

characters stood each by itself unjoined to its fellows
by connecting lines. The first printers borrowed pleasing effect; but in the beginnin
from the scribes of their time the forms for their should be the aim.

)

7 /

vary a little the heights and widths of the letters in order to make
" In the formation of most styles of lettering the them appear the same. An illustration of this principle will be seen

straight fine is much more frequent, and the curves less subtle than in in Fig. 64. In the upper line of the illustration the circles, squares,
writing. The shapes of the former are therefore in a marked degree and triangle are all of exactly the same height and width; but the

easier to measure and define. circles and triangle appear distinctly lower and narrower than the

The practice of lettering is mainly that of freehand drawing; but squares. This is no doubt due to the fact that while the square
the ruler and compasses are also brought into frequent requisition, reaches its full height and width along an entire side, the circle
There are, indeed, alphabets that may be made almost entirely by the and triangle only attain each at a single point, which of course
use of instruments ; but though in tasteful hands they may attain to fails to impress the eye like an extended line. If now each of these
a degree of neatness and even elegance, they are likely to have little squares resting upon its side were replaced by another standin
of grace or spirit. vertically upon one of its angles, and of exactly the same perpen-

Before taking up the alphabets separately it is best to consider dicular height as the circles and triangle, the case would be changed,
some general principles that should be borne in mind in the study of The full heights and widths of the squares so placed would then

also be attained only at single points, and would not be likely to

times.

c r

them all.

S 7

L^TTE^RING.

appear greater than in the other figures. In the lower line of figures
in the cut, the heights and widths of the circle and triangle have
been increased until they appear as great as those of the squares.

Thus the upper fine of figures shows the sacrifice of apparent to proportion, and will be found continually exemplified in the produc-

real, and the lower line of real to apparent uniformity, the latter tions of the skilled and tasteful,

being the true course in lettering. The general principle would there¬

fore seem to be, as applied to letters, that those rounded or pointed
at top should rise a little higher than those with the same part
straighter or squarer, also that the base and sides of letters are sub¬
ject to the same rule.

C, E , G, and S, do not extend so far outward as the part below,
etc. The carrying out of this principle, which is especially applica¬
ble to work on a large scale, tends to impart variety and grace of

Of other points that would perhaps properly come under this
head, we.can more conveniently speak while referring to the alphabets
in detail, or afterwards.

ROMAN LETTERS.

The Roman alphabet has

good claim to come first and to be
regarded as standard. It furnishes the characters in which the greater
part of the books and periodicals of the civilized world are printed,

and it would be hard to say that any other alphabet now extant would
be equally worthy so extended a use. Others excel it in particular
points ; but for an admirable combination of good qualities —legibility,
simplicity, and a no inconsiderable share of the element of beauty — it
stands .easily superior to them all, and therefore well deserving the
place it holds.

Of the Roman letters there are numerous varieties. Among sign-
painters, in whose hands this alphabet, as well as the Egyptian, has
perhaps reached its highest perfection, there are the New York and
the Boston styles, each, with quite distinct characteristics. There are
Curved body strokes, like those of the Roman O y C, and B, are also the Straight Roman, the Antique, the Medieval, and other varie-

enerally made thicker at their broadest point than straight ones: ties. Plate 58 presents one of the simplest forms of the Roman now

otherwise they appear narrower and weaker than the latter. This in common use. In their proportions the letters upon that plate may
extra thickness at widest part of curve seems to be required by be called medium, as being between the expanded or broad forms on
the eye as a compensation for the unavoidable narrowness of its the one hand and the narrow or condensed on the other. It is well
greater portion. This reason may also be applicable to the principle to study the medium forms, first, as being more widely useful in them-

above explained in connection with Fig. 64, and the reason given selves, and also as affording the best introduction to the others,

there may, on the other hand, be equally given in elucidation of The dotted straight lines upon Plate 57 form a scale very similar

this. to that used in writing, and indicate in a clear and simple manner the

In those letters whose shapes favor the application of the idea it is proportions of the letters. The capitals are all of equal height, or

considered an improvement to make the top parts not so heavy as extent vertically, with but one very noticeable exception, and that in
the base, either as a whole or in details. Thus, in the Roman letters, the finish of the 0 , which drops one-sixth height of letters below base
the horizontal projections are usually a little smaller at top than at base, line. There are, however, a number of other exceptions hardly appar-

and the curve at top of B, and the portions above openings on right of ent at first sight, where those letters with rounded or angular tops or

l y e}'tte}rinq.

bases, or both, as the 0 , Q, C, G, /, U, S, A , V, and W, extend
a trifle above or below the other letters, in order that they may not stroke, at base, and
appear, as already explained, to fall short of the uniform measure.

The medium width for Roman capitals may be regarded as rangiu

somewhat, but an extension equal to three-fourths thickness of body

trifle less at top, is a good medium for letters

proportioned like those on Plate 58.

The dotted curves appearing with some of the letters on this and
other plates are deservin

from three-fourths the height at the narrowest to a breadth equal to
the height at the widest. The width of the capitals on Plate 58 is a
good mean between those extremes, being five-sixths the height.

of more attention than at first glance they
may seem worthy. They complete the figures of which the curves of

The the letters form a part, and show the relations existing between
width referred to may be called the standard, and is divided by the in different letters, thus helping to make the forms of the letters
vertical dotted lines upon the plate into three equal parts or spaces.

curves

not

onty better individually, but more in harmony with each other.

To the standard width, made up of these three spaces, the

reater part these and other points of a similar character relative to both the
of the letters exactly conform, and the others approximate more or less curved and straight-line letters and parts, the student can obtain from
closely, as the peculiarities of their structure and harmony with other

£5

the monograms in Fig. 65, here given, ideas well worth his considera¬
tion. The H is repeated in each monogram, so as to afford

Of those letters whose widths vary from the standard,
the E , F, and L fall short about one-fourth space, the N and U

letters admit.

a common

one- unit of comparison for the different forms throughout. The letters
third, the J one-half, while the /, narrowest of all, occupies but a displayed in several monograms instead of

single space. The M, on the other hand, exceeds the standard done

are

as might have been

one

to avoid complexity and confusion,
that the separate forms may show more clearly, the letters are made

For the like reason, also

measure one-third space, the O , O, and character dr 3 one-half, and the

W, widest of all, requires one and one-half spaces extra, making its
full width once and one-half the standard. '

more open and with narrower body lines than those upon Plate 58.

It will be readily seen that in this alphabet the triangular parts on
right of top in the C, E, E, G , and Z, on left in Z and on both

IHOQDCGJ

ZXYH

sides in T, descend about one-third height of letter; while the similar

forms at base of E , L, S, and Z, and lower terminal curve of C,

extend from the base upward also one-third height of letter. The

lower part of G, on right, is of a height midway between one-half and
one-third that of letter.

FIG. 65.

The crosses in E and F occupy the middle
third of the letters vertically, and extend horizontally half-way from

body stroke to right side of letter. They are attached to the bodv

Roman Lower Case. The short letters

dj Cy €y VI , Vy 0 , Yj Sy ICy

v, w , x, and z are two-thirds height of capitals. The upper-extended

strokes just above half-height of letter ; and the same is true of the
short horizontal fines near middle of H , B, and R.

fall lower, on account of the openness beneath.

The triangular parts, sometimes called feet, which terminate the

fight fines in the A, M, N, U, V, IV, X, and Y, are about one-sixth

letters b, d , f h , k, and / are of same height as capitals; and the
lower-extended class

That of P

g, /» A and y, drop below the short letters

may

the same distance that the upper-extended project above them. The
height of the t is midway between that of the short and the

upper-

extended classes.

The standard width of the short letters and of the

height, by (exclusive of hair-line projections) one-third standard width corresponding parts of the extended

of letters in breadth, but may well be made a little smaller at top of
letters than at base.

, upon Plate 58, is five-sixths their
as in the capitals. This width is

a scale.

height,—-the same proportionately

likewise, as in the capitals, divided into three parts, formin
The horizontal projections at top and base of letters may vary shown by the vertical dotted fines, upon which, together with the hori-

£5

LE}TT$RINQ.

zontal rulings, the shapes of the letters are drawn and their measure- at a glance. The / of course requires only one of the side spaces
ments plainly indicated. Of course some of the simpler letters — as
the i —will need but one of the parts for their construction, while the
more complex — like the m — will require room additional; still, the height, will be observed in the Egyptian similar to (but less marked
three spaces, taken mostly as a whole, — but in some cases in part or than) those in the Roman, and serving the same purpose, that of
with additions, — form the basis for the construction of each letter, as attaining a general appearance of uniformity and harmony,
shown upon the plate.

while the scale of the W is like the others with the middle space dou¬
bled.

Variations here and there, of width, and less noticeable ones of

In the lower-case Egyptian the letters have the same general pro-

The principles before explained in relation to widths of curved line portion to the capitals as in the Roman. The upper-extended letters

letters, relative thickness of curved strokes, size of parts, etc., are are the same height as the capitals, the short letters two-thirds the

equally applicable, of course, to the lower-case letters as to the capitals, same, and the lower-extended go below the short class as far as the

Attention also to the curves lightly dotted upon some of the small upper-extended do above them. The t is midway in height between

letters will be found a marked assistance in mastering some of their the short and upper-extended letters,

most difficult forms. The short letters are also the same width as

the capitals in propor-

Relative to spacing of Roman letters see Plate 71.

tion to their height, and the widths and heights of the short letters
divided in just the

manner as the capitals, to furnish the stand-

same

EGYPTIAN.

ard scale for their construction.

The Egyptian letters (Plate 59) stand next to the Roman in useful¬
ness. They are not so handsome as the latter, but more simple, and
especially, in their octagon forms, are of more easy construction. The
Egyptian is very legible, and is strong and solid in aspect. It fur¬
nishes also a good basis for ornamental forms, as shown on Plate 67.

There are two styles of Egyptian, called the Octagon and the
Round. Both forms of the capitals are given in the plate. The Octa¬
gon is the simplest and the most easily spaced. It differs from the
Round in employin

G , /, O, O , R, S , U, and the character &.
in tire figures, which are not given upon the plate.

The dotted lines upon the plate indicate the proportions and rela¬
tions of the letters so clearly that little need be said. The heights
divided into five parts — equal in this instance

and middle to govern, as clearly shown, the width of the horizontal

The learner must not fail to get what help he can from the curves
dotted with some of the more difficult letters in like manner as in the
Roman.

It will be found easier to combine this alphabet into words than

The shapes of the letters are more uniform, and the

the precedin

spaces between them run more nearly the same.

FULL BLOCK.

This alphabet, given on Plate 60, has a certain finished massiveness
of appearance that makes it desirable in places. It furnishes also
good basis for some of the ornamental forms of letters.

Lower case letters of the Full Block style are not often used, and
therefore not given in the plate.

The height of the letters is divided like the Egyptian, into five
spaces; and the standard width is the same relative to the height
(five-sixths) as in the Roman, and is divided into three spaces, of
which the two outer ones are each equal to one-fifth the height. The
standard width and its three spaces is dotted in connection with each
letter, indicating the measurements clearly. The /, however, needs
one of the side spaces only, and the W requires the doubling of the
middle space, as in the Egyptian.

straight lines instead of curves in the A, C, D,

It also differs similarly

a .

the ones at top, base,

parts of the letters. The letters presented are of medium proportion,
their standard width being three-fourths the height. The width is di¬

vided into three parts, the two outside ones being each equal to
of the divisions of the height.

one

The same scale, of precisely the same
width, except in the case of the / and the W, is dotted with each of

the letters, so that the comparative widths and proportions are shown

The projections at top and base of this alphabet extend beyond the
body strokes about two-thirds or three-fourths their width.

ITALIC AND ITALIAN.

The Italic letters, as presented in Plate 60, differ little, except in their
slant , from the Roman, and might perhaps be as properly called the
Slan tin g Roman. The only letter in the Italic essentially different is
the small g, which is made more simple, as better suited to the changed
position. A desirable slant for the Italic is one forming an angle of
from sixty to sixty-five degrees with the horizontal.

Notice how the pointed top of the A and base of the V, and the
ends of the ovals of the ( 9 , and other letters similar at top or base,
fall about midway between the slanting width-spaces. Inattention to
this will tend to throw the slope of those letters out of harmony with
the rest. Observe also in the sides of the 0 , and the similarly formed
parts of other letters, that. the strokes curving to the left are thicker
towards their lower ends, while of those curving in the opposite direc¬
tion the reverse is true.

The several classes of the small letters in the Italic on Plate 60, as
well as in the Free Italic and Italian on Plate 61, are proportioned rela-
tive to the capitals and to each other, as in the Roman and Egyptian.
The figures of the Italic and Italian, and usually of other alphabets, are
to be made of a height midway between the short and upper extended
classes of small letters.

STRAIGHT-LINE AND CURVED-LINE ALPHABETS.

It will require a close search to discover a curved line in the
alphabets upon Plate 62 ; and from the letters on the plate following
the straight line is almost equally excluded.

characterize the forms of the first plate, and grace and freedom those
of the other.

The alphabets given upon those plates are very readily formed and
spaced, and therefore, like the text hands, useful where despatch is
desirable.

The Straight-Tine Tetters may be made almost entirely with the
ruler. It is best to employ with it, to ink the fines
ruling pen (see Fig. 74, under Pen-Drawing) which, when the letters

Formality and neatness

draughtsman’s

IN Q.

are to be filled in black, can be set to make them so at once of
the desired width, and with the utmost smoothness and uniformity.

The letters on Plate 63 — unless considerable accuracy is aimed
at—may be made directly with the pen, without previous markin
out. Simply make fight pencil-lines for top and base, then turn the
right side of paper toward the front edge of table, until, when the
letters are properly sloped, their main strokes point toward middle of
body. A good slant for these letters is the same to the left as the
Italic to the right. Tines of the correct inclination ruled in pencil at
short intervals across the page will be found a help where extra nicety
is desired.

The pens for these letters should have a spring well tempered, and,
for the larger sizes and thicker strokes, be quite flexible ; the shades
are usually done at once, where the size admits, by increasing the
pressure, as in writing, and not by outlining and filling* in. A pen
with a double split or a broad point like those for text is adapted to
such work when rather large. When the size desired is beyond the
scope of a pen, the letters must first be outlined, as with other alpha¬
bets.

GERMAN TEXT AND OLD ENGLISH.

With the single exception of Script, we are inclined to place Ger¬
man Text before all other styles of letters for real grace and freedom.
The Old English, on the other hand, has a sort of refined dignity
that specially adapts it for use in connection with matter of a serious
import.

Theses styles may be done-by outlining with pencil and then finish¬
ing with ink; or, they may be executed with a broad-pointed pen,

which is the usual way where an unornamented letter of one tint
throughout is desired.

Steel pens adapted to text are now beginning to be produced of
ood quality, and are easily obtainable. Still, as the best of them
hardly equal those skillfully made from quills, we will give some prac¬
tical hints for the production of the latter. The quills are best well
seasoned, hard and firm. For rather narrow points goose-quills will
do ; but turkey-q uill s are the most readily obtained, and generally ser¬
viceable, for text. Eagle-quills are excellent for the larger sizes ; but
are not easily secured. The knife for shaping the pen requires a

IyE^TTE^I NQ.

narrow blade with a keen edge.

The barrel of the quill, if not smooth,

These quill-strips are then made into pens, shaped like A and B, Fig.
should be rendered so by scraping off with the knife any shreds that 67, and without splits. A holder is needed for such pens when i
may adhere to it. After cutting off the taperin

in use,

end obliquely and provided with a thin, and preferably straight, opening, fitted to receive

removing the pith, shape the end of the quill for ordinary text

and hold them securely.

The cuts B, Fig. 67, and E, Fig. 66, show how the nibs may be
cut into two or more points to produce various widths of broad
broad and fine lines combined, with one stroke of

shown in Fig. 66, A and B } — the former showing the front and the lat¬
ter the side view of the same pen. Make the upper cut, marked 1 1,
in front view, first; then shape the sides of the point, marked 2 3,
cutting the left first, and making the breadth according to width
of body-stroke in the letter the pen is designed to execute. Now
turning the pen as shown at B, with its hollow side down, and
resting a little of its point upon a flat, hard surface ( F) of wood,
bone, or ivory, finish the edge of the pen, that is to press the paper,
with two cuts. The first should be made with the blade turned

the pen.

When text pens are laid aside, if the points
can be kept under pressure between flat surfaces,
warping will be prevented, and they will be re¬
tained in better shape for use.

So much for the quill text-pen ; we will now
turn again to some of the forms the}^ are designed
to execute, as presented on Plates 64 and 65.

In the German Text the height of the short
class of small letters is divided into four equal parts. At a distance
above the short letters equal to three and a half of those parts is the
line limiting the tops of the double curve finish of the b , the f and
other upper-extended letters. The stems of those letters, as also the
For broader pens two slits tops of the t and d , terminate about in the line midway between the

with its top to the left, as shown at e , and the other with it held
vertically, as at n. The last cut takes off only the least bit of the
very edge, and should leave it perfectly straight, and of a chisel-like

shape, as indicated in the magnified view of the pen-point, C. Ob¬
serve also in the same view the sharpness of the angles at 0 and r,
which favors the producing of clean, sharp-cut turns. A short slit,
which may be made before the final cuts just explained, is required
in the nib of the pen, as shown at s.

may be used, as in the tops of the short and of the upper-extended letters ; while the lower-
point 0 r. When one extended class drop as much below the short letters as the stems men-
wishes to make the tioned rise above them. The dotted horizontal lines, one at top and
finishing hair-lines at the other a little above middle of capitals, are at the same height
top and base of small above base as the top lines of the upper-extended and the short letters
letters at once and respectively,
with the same pen,

the left angle of nib the small letters, and is divided into three spaces, which guide in de¬
may be made longer veloping all the letters. The spaces upon which the capitals are
for that purpose, by formed, marked by the vertical dotted lines, are each equal to three/

The width of the u at middle is the standard for the widths of

cutting the point obliquely, as shown at x, in Fig. 66.

When pens of extra breadth are required to be made of q uill s the
method recommended some years ago by Messrs. Knapp & Rightmyer
may be employed. It consists in soaking the quills in cold water
until pliable, then opening and flattening them under heavy pressure.

of the small letter spaces, that is, to the standard space or width

The ease with which the capitals fit themselves to
without noticeable sacrifice of grace, is something sur-

of the small u.
that spacin
prising.

In making the German and Old English Texts with a broad pen,

£>5

L,$TTE}F{INQ.

notice that the edge of the pen in contact with the paper should be
kept generally at the same angle with base line of letters throughout.
This is made clear in Fig. 68, which shows position of pen at begin¬
ning, middle, and end of strokes.

SPACING.

The matter of spacing is one deservin

careful consideration in let-

tering.

It corresponds to time in music, and badly spaced lettering i

to the eye as ill-timed music to the ear. Good spacin
has been termed “the sign-painter’s savin

as unpleasin

In the Old English the height of the short small letters is divided,
as in the German Text, into four equal parts. The top and bottom

(a saying equally

true of letterers with pen or pencil), and is held to go further toward
fourths are ruled upon the plate, and together with the thirds cut off redeeming the effect of inferior form than

from each by the two additional parallel lines, fix the extent of the

& grace

superior form to counteract

the effect of poor spacin

As in regard to the widths of letters

& •

top and base turns and angles of nearly all the small letters with

pre¬

in respect to the spaces

cision. The two lines which serve as guides to the length of the between them, we have no invariable rule just fitted to every place,
extended letters are at a distance above and below the short letters There are, however, two precepts of general applicatio
equal to three-eighths their height. The line above tops of upper- and these are,

extended letters gives the height'off the capitals,^ which, as well as-the

n to the subject,

that the openings between the letters should have

appearance-of equality among .themselves, -and^that they'should also

harmonize with the widths of the letters by bearin
ratio or relation to them.

some well-chosen

Perfect spacing, therefore, takes into account
the entire line of letters, their widths, interspaces, and all.*

The interspaces of the letters may vary from beip

that between the body-lines of the H\ to attaining a breadth equal to
the full standard width of the letters.

no larger than

But here, as in other things,
there is a medium measure, more practically useful than those of the

extremes. And an acquaintance with this being first gained will likely
in most cases be sufficient, besides furnishing the best key to a knowl¬
edge of the variations, when desired.

longest class of small letters, on account of their less open construction,
must be shorter in proportion than in the German Text. The hori¬
zontal rulings across the capitals upon the plate are the same as in

the small letters, omitting only the lowest line and the second and
fifth ones above it.

In considering this medium
spacing we shall have special reference to the medium Roman capitals ;
but as the Roman are deemed as difficult to space as any, -—
excepting the text capitals), and as the same principles are
less applicable to all alphabets, it is hoped that what is presented will
suffice without going into the subject in detail relative to each style of

(possibly

more or

For the widths of the Old English take the u again as the standard.
I11 the alphabet given, the width of the u at middle is one-half its

letter.

height. This standard width is divided again into three spaces for the
small letters; and two of these spaces are equal to one of those
which the capitals are constructed.

In medium spacing the openings between the letters should appea
about equal to those between the body-lines of the same letters. These
latter spaces vary in different letters, but we know of no better average
than one midway in breadth between those of the H and of the O .
For the medium distance between letters, therefore, add to the width of

It will be observed that, as the
small letters nearly all fall easily into their three single spaces, a .large

part of the capitals fit naturally to their three double

Notice

also that where the letters vary from the standard width, it seems to
be for reasons similar to those for like variations in the Roman and
other alphabets already mentioned.

ones.

* Perfect

spacing also does not entirely overlook the openness or closeness of the general design,
or of the parts of it where the letters

It seems more natural that an open design, with wide
margins and the lines well apart, should have wider intervals between the letters than one with

margins and a close general arrangement.

occur.

narrow

L$TT$F(INQ.

the space between the body-strokes of the H one-half of the difference
between it and the width between the body-strokes of the O y taking
both measurements at mid-height. This may be called the stand¬
ard interspace, to which all should either conform exactly, or ap¬
proximate, so far as the appearance of uniformity will permit. When interspace to the distance which the two adjacent terminal or initial

two letters with straight body-strokes stand in a word with those letters would have between them if occurrin

strokes next to each other, as I D, H P , the distance between the

letters is equal to the standard space. But when one or both the sides from the medium, it is better to increase than to diminish it; as the

next each other are of curved, oblique, or broken form, the case is dif- former favors legibility, while the latter tends to confusion. And what-

ferent. In such instances some portions of the letter recede so far from ever space is chosen, we think, as already intimated, that it should
the one adjacent that it is found necessary to bring the entire letter bear some relation to the standard width of the letters or their parts,
closer to counterbalance and make the space appear of the standard For instance, it may be one-half, two-thirds, or three-fourths that width

of the letters; or, perhaps, proportionately as much wider than the
openings in the letters as these are wider than the body-strokes, etc.

The small letters have their own standard interspace, proportionate
to their width, and are generally easier to space than the capitals, on
account of their greater uniformity of outline. The spacing of the
Full Block capitals is much the same as the Roman, while that of the
Egyptian is simpler, by reason of its simpler forms. In both alphabets
Fig. 69 illustrates the standard interspace, and some of the chief the octagon styles are easier to space than the round. The less
variations, needed to preserve the appearance of uniformity. The stand- variety, roundness, obliqueness, and brokenness in the sides of the
ard space is shown in that from H to /, marked “1” on the cut. The letters, the more uniform the intervals, and the less difficult to distance
O , on account of its rounded sides, and the A, by reason of its oblique them satisfactorily. Hence the ease of spacing such characters as the
sides, hUve to be brought a fourth of the space closer, to prevent their Old English lower-case, and still more the Straight Fine style of
looking too distant; so that the intervals from I to O and from / to letters. One who can place the Roman letters together aright will be
A are each three-fourths the standard. Where the two O’s stand likely to have little trouble with the rest.

As a sort of appendix to what we have said on the subject of
spacing, we will give a word to an off-hand method which seems to
be in vogue among sign-painters, as it is explained in Boyce’s Sign
Painter’s Manual. Though it would be likely to prove unsatisfactory
with engrossers, wherever superior results are sought, still, as it might
sometimes serve a good purpose, or offer a hint for an improved
method, it is here presented for what it may be worth. It consists in
allowing an equal space upon the hue for each capital letter, except
the / and IV. The latter has a little wider space than the rest, and
the former but a half-space. Between initials and words in the same
line a half-space additional is given.

names, let the distance be at least double the standard space between
the letters, subject to the variations proper for the different forms of
the terminal letters, as explained above. A more perfect rule, or state¬
ment of the same rule, would be as follows. Add one full standard

together in a word.

When the standard distance between letters in a word is varied

width.

FIG. 6g.

together, or the O and the A , each letter being brought a fourth closer
leaves the interspace but one-half the standard. Fetters similar in
form to those in the cut follow a similar rule.

letter the space will be one-
eighth of the standard closer than between the O or A and the same
letter; and a letter on the right of the L or left of the J may need to
be a little closer still, to look well. In case of such combinations as

A A, WV y PY, the projections at top or base may be shortened, or, in

some instances, coalesce between the letters. An L coming before an

A or J, and an F before a F, W, or Y, may be slightly narrowed.

Between words in the same line, and between the initials of proper

Between a P or F and a succeedin

LETTERING.

ering the length and height of the line, and the matter to go in it,
can almost intuitively hit, upon the right width and spacin

The lower-case letters have also equal spaces allotted them, except
the i, /, and i, which have but one-half, the /, j, and r, a little more
than one-half, and the m and w a little more than the general space.
This method, says the authority quoted, is applicable to the Roman,

Egyptian, and Block letters.

It must not be understood that by this method the letters are all

or that they occupy the entire space

and

sketching the line quickly through, giving two or three characteristic
strokes for each letter, come out just right, or very near it. If the
sketched line varies materially from the desired length a change of
each width and space proportionate to the variation will give the
second time a correct result. Unless the letterer is sure of his skill,

required to be of one "width,

’ allotted them. They may be varied in breadth to give them a uniform

however, it is advisable for him, if his work is of much importance,
to make his first sketching of the fine upon a separate piece of
paper, and get it rightly arranged there; when the measurements
can be transferred to the proper place.

Another method is to run through the line, making slight touches
with pencil for each side of letters. By this mode the standard "width
and interspace assumed to begin with ma> be indicated upon the

elsewhere explained, and though each letter is to stand

appearance, as

in its own space, it is not to occupy so much of it as not to leave on

both its sides enough room to provide for proper intervals

one or

in the middle of

Also, instead of always bein

between the letters,
its space, the letter can be moved towards its right or left side, when

it will improve the arrangement.

As applied to signs this method allows Roman Caps and Full Block edge of
be made from two-thirds to three-fourths the width of the general each letter in

a card, and thence taken off, with the proper variations, for

An incorrect result can be rectified as

succession.

before.

The Full Block may, however, be compressed, and

space in height.

then made of a height equal to the full width of the space. The

Sometimes a line - of letters is beghn in the middle and laid off

This insures a right balancing of the fine upon center of

space at once, and, if it is not mate¬
rial that it be of a given length
answers with the first laying out.

When a line has been carefully and
accurately lettered or spaced through
and proves not to be of the right
length, or, if it is desired to adapt it
to some other place by a way sure,
with care, to bring the correct result at
the first trial, the method illustrated
on a small scale in Fig. 70 may be
used. The horizontal straight lines be¬
tween A and B in the figure represent
the widths, and the intervals between
them the interspaces of the letters
of a word properly spaced. The word
is OHIO in this case, and in Roman print, but the method would
be equally good with any other word or style. Suppose it is de-

Egyptian admits being one-sixth, two-thirds, or even five-sixths higher each way.

It will thus be seen that this

than the allotted space is wide,
method makes the height of the letters depend upon the lateral

' D

divisions, while the engrosser usually decides upon his heights first.

i B

A-

LAYING OUT LETTERS.

In laying out a fine of letters usually its length is first decided
then its height. Two light pencil-lines of the length and distance
apart determined upon are then drawn for the tops and bases re-
spectively. If the letters are to be of the Egyptian, Block, or related
styles, the top and base lines should be double with a space between
each pair to match the thickness of horizontal parts of letters,
line, or double line, may be added at mid-height, parallel to the
first mentioned. Plates 64 and 65 show the horizontal rulings for
the German and Old Knglish Texts; but for ordinary purposes that
may be simplified by omitting all but base line and two additional
ones, for the tops of the capitals and small letters respectively.

The guiding lines being thus drawn, there are several methods
of putting in the letters. A skillful, experienced hand, by consid-

r F

• •

• • •

•• ■

FIG. 70.

NQ.

sired to make the line a quarter inch shorter or longer. To do this should point exactly towards center of circle. To this middle line the

take some point on one side of A B ,—and it is best to have it direction of the sides of the letters will be parallel, or nearly so. We

opposite its middle and not too near. Let G be the point selected, say 7 iearly because the eye seems better pleased to see letters when

and from it draw straight lines G A, G B, etc., touching both ends placed as mentioned, a little broader than usual at their tops ; for the

reason, perhaps, that otherwise the contrast with the longer outer curve
and with the increased width of the interspaces at upper end, would
tend to make the tops of the letters appear too narrow.

If the letters instead of being perpendicular to the curve, are to be
made all upright — that is, all vertical to a line joining the ends of
the curve, and parallel to each other — it is a good plan to strike the
curve for the base of the letters from a center lower than that of the

If both curves are

made from the same center the middle letters of the line will be lower
than those at the ends. When this appearance is not deemed objec¬
tionable in the place the line is to occupy, both top and base curves
may be struck from one center.

of all the width lines, as shown, and produced indefinitely. Now
find the point between A B and G where the outer diverging lines
G A, G B, are at a distance from each other, measured on a fine
parallel to A B , equal to the shorter length of word required.

Through the point so found draw a line parallel to A ) B, and ter¬
minating each way in the outer diverging lines. E and F on figure
represent the ends of such a line, a quarter inch shorter than A B ,
and the lines diverging from G divide it into parts for widths of top curve by at least one-half height of letters,
letters and spaces between them, exactly proportional to those in the
line A , B.

If the word is to be lengthened, the correct division is found in the
same manner, but on the other side of A B , and will be as shown
between C and D , if the increase is to be one-fourth inch. The entire
distance, C E, is equal to the required longer line, and its divisions
proportional to those of A B, and hence to the spacing of the given
word, as required. This process gives perfect results if accurately per-

VARIATION OF LETTERS.

This subject is a broad one and of much interest, but we can do
little more here than barely touch a few points relating to it.

The plain letters of medium proportions should first be attended to,
and then there is a better preparation to understand how the trans¬
forming hand of change working in diverse -ways may vary them in
size, position, form, and by ornament, etc.

Variation in respect to size is so simple as hardly to need a word.
The scale We will say, however, that where several lines of lettering of various

sizes appear upon the same piece, it is best that their heights should
bear graded proportion to each other and to the tallest letter upon the
piece; though of course the effect of ornament and different styles of
finish upon the apparent size or prominence of a letter will be taken
into consideration in carrying out this rule.

Sometimes the size of a letter is required to be varied without alter¬
ing its proportions. Fig. 71 shows a ready method for doing this.
1 circle, and they Suppose that the large letter C in the diagram is to be reduced until
the middle of the its height equals the line E B , the ratio of width to height not being

altered. Bnclose the letter in a rectangle A C D B, resting upon base

The above way of making proportionate divisions of lines of differ¬
ent lengths is founded upon a geometrical principle similar to that of
the ‘ ‘ Lettering Scale, ’ ’ Plate 71 ; and the two taken together would
form an exact geometric method for laying out fines of lettering, so
far as the widths of letters and their spacing is concerned,
would furnish accurate measurements, and the other device (Fig. 70)
would as accurately make them of the size desired.

The scale engraved, Plate 70, comprises only the Roman capitals.
Though the plan is applicable to any style, it would require other simi¬
lar scales, adapted to the leading alphabets, to give full scope to it.
While such aids may be found helpful to the inexperienced, the master
probably will not feel the need of them.

In placing letters upon a curve, if it be that of
are to be perpendicular to it, a straight fine joinin
top of any letter with that of its base (both exclusive of projections)

LmTT-E}RINQ.

line of letter and touching its sides and top.
of rectangle.

Draw the diagonal, C B,
From lower end of side A B measure off upon it E B

equal to height desired. Through E draw E F
parallel to base and cutting B C at F.

through F, parallel to E B, Then the rectangle
E F H B, and the letter drawn in it, as shown
in figure, will be exactly proportional to the larger
rectangle A C D B and its inscribed letter.

along the wire. At first sight the positions of the letters in the head¬
ing referred to may seem quite devoid of plan ; but a little attention
will reveal the obscure thread of order and unity which

even confusion and render it picturesque and attractive.

The question of how much letters should slope

can organize

Draw F H

comes m properly
here, but what has already been said about it, in speaking of Italic and

Off-Hand alphabets, will perhaps suffice. ,

Almost every style of letter may be placed in any of the general
after | positions,—upright or inclined to right or left,

changing its character.

enlarge a letter without altering proportion:
first making rectangle and diagonal as before, pro¬
long the diagonal and also the left side of rectangle
upward indefinitely. Upon the left side elongated
find, as before, the point at au altitude above base equal to the height
required. From the point so found draw a line rightward, parallel to
base, continuing it till it touches the diagonal produced. The length
of this fine will be the width sought for the enlarged - letter ; and the

completion of the larger rectangle and drawing within it a letter of
the required size can then be easily done.

The same principle is applicable when the width, instead of the

without essentially
A new name, however, is sometimes given to

letters with their positions

Varying the Proportions of Tetters.

altered, though changed in little else.

By the proportions of a

letter we understand in general the relations of the height to the width
and also of the different parts to each other.

)

These proportions may be

WIDTHS OF LETTERS

height, of the size to which the given letter is to be proportionately
enlarged or reduced, is known.

In this case find the point upon base ,
or base produced, of rectangle, distant from its left end equal to the

width required. A line carried upward from this point, parallel to left
side of rectangle, until it touches the diagonal, or the diagonal
duced, of that figure, will be of the height required,
of the desired letter is then simple.

c n

Ph.

♦

pro-

The construction

»i

There are three general variations of letters i

m respect to their posi-

common:

tion upon base line,
inclined to the right

These are the upright, the most

in the Italic and ordinary script; and inclined
to the left, as exemplified in some of the letters on Plates 62 and 63.

The upright position seems most favorable to legibility, but each
has its place and use

either for ready reading, facility of execution

: <

)

or purposes of variety and contrast.

Sometimes different positions may be appropriately combined i

word,, as in .the heading of the Telegraphic Alphabet, Plate 70, where largely changed and the style of the letter still retained
the zigzag direction of the letters harmonizes with the course of the

free lightning before it is caught and trained to a path of usefulness

FIG. 72.

How the Proportions of Letters are Varied.

m one

; or the changes

may be carried so far,
that one style will pass into another or a new one be produced.

especially in the relations of the parts

)

i^e>Tt-e^rinQ,

Fig. 72 illustrates a variation of the proportions of a letter without

The heights of the letters in the cut are
the changes are in their widths and in the

The illus-

We mentioned that the variation of proportions might be carried
far as to change the style of the letter,
instance, any of the nine letters in

materially affecting its style.

To verify this, if we take, for

7 2 1 au( A reduce the thickness
of the vertical parts until they become hair lines, the Block character
is lost and we have an Italian letter.

the same throughout;

breadths of the parts and of the spaces between the parts,
tration explains itself, and shows how a letter of a given style may be
medium, broad, or narrow in respect to width, and each of these
ties may have the lines or. strokes composin
or narrow, in thickness.

And if after this transition
thinning the horizontal parts of the letter till they likewise

we have no longer either Block or Italian, but a Skele-

vane-

it also medium, broad,

commence
are hair lines
ton letter.

It will be noticed that in the cut the width of each letter is divided
into three parts or spaces, of which the two outside

The changes in proportion mentioned are among the means by which
variations in forms are wrought; but there are others

ones are m every

case equal, while the middle space may be equal to the other two
not according to the proportions of the letter.

such as the substitution of curves for straight hues

of circles, ovals,
— or, transitions

Such alterations ma}^ tend to simplification or to
elaboration. If carried far in the latter direction they become
mental in their character.

It will be seen also

that the height of every letter is divided into five parts, of which

those at the top, middle, and base are equal,* while the intermediate

being sometimes equal to and sometimes larger than the
but in every instance equal to each other. The illustra¬
tion gives examples where the varying spaces, between the parts of
the letters, are equal to, where they
smaller than the others.

spirals, or parts of them for shapes of angular outline
the reverse of these.

orna-

spaces vary
other three,

In varying letters in their shapes, and by the countless styles of
ornamentation and finish, it is generally well to begin on a ground¬
work of simpler forms. This lesson is clearly exemplified on Plate
67, where a style of Egyptian is used as the basis of elaboration.
The Plain Roman and Block are adapted for similar use, and
styles ican be developed from them more naturally than from the
Egyptian. The striking text alphabet on Plate 66 is based on the
Old English ; and the Ornamental Initials, — Plate 68 and 69,
founded largely upon the Medieval characters.

larger and also where they

This scale or diagram of three parts in width and five in height for
each letter, as shown and described, with its possible variations

to be applicable to the Block and Egyptian styles in all their positions,
proportions, and variations.

* We say equal, though it is admissable to make the top division a shade narrower than that
at base, in accordance with what was said under head of General Principl

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Written by*3pfMiceririn‘Au[horj_ En^ravecJ facsimile by A MlL ees

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tngraved facsimile ivy A Me Lee

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Written by 5pencenan'Authors_tn

CuDvripht.l830.by Ivison.B

PEN

y S an instrument for drawing, the pen is unrivalled for each.

the production of sharp, clear, definite fines; it can
also, with extra time and care, almost rival the soft- i as
ness of the pencil and the brush. Its aptness at imi-
taring the styles of engraving has brought it into large
requisition of late in connection with the photo-pro¬
of that art; and its sphere in that direction
& seems to be rapidly extending.

The pen has been strongly recommended to begin¬
ners in drawing. The difficulty of changing or erasing its fines enforces
a thoughtful attention to the work in hand not to be expected where
an instrument is used whose errors can be remedied in an instant by a
crumb of bread or a piece of rubber. The point of the pen also lasts
long and is reliable, while that of the pencil continually changes by
wearing away, and requires frequent re-shapin

Many drawings extant of eminent artists show that they had fre- | pressed,
quent recourse to the pen in their work ; making use of it in hasty
sketches and in studies, sometimes alone, and sometimes with tints
of shade laid in with the brush or the stump. In the latter style, the

sharp, definite fines of the pen form a striking contrast with the broad
soft tones of the other implements.

The main principles of drawing are similar whether the instrument
be pen, pencil, or charcoal, and a like knowledge, training of eye, and
discipline of hand into subjection to the eye and mind, are required in

Instruction in the practice of drawing in general is not, however
within the scope of this work, but rather the offerin

of such hints

• 1°) V.

may prove useful where the instrument to be employed is the pen.

We are indebted for points here and there in this article to the pages of Mr.

In the

for photo-engraving we have profited by the instructions
issued by the Moss Photo-Engraving Company, in addition to our own

Ruskin, Mr. Hamerton, and Professors S. E. Warren and John Maxton.
parts relative to drawin

0 I

experience.

MATERIALS AND IMPLEMENTS.

Paper.

Good papers for pen drawing are becoming plentiful, but
there is still probably none better than the Whatman, except for photo¬
engraving, which needs a perfectly smooth, level, white surface,
more satisfactorily found in the Bristol and some other card boards.

The Whatman papers are made with two varieties of surface,
smooth, known as “hot-pressed” ; and the rough, designated as

The former is the one best suited for pen-drawing, the

The following are the
with their proportions in inches.

the

( i

cold-

J 7

latter being more especially for brush work,
names of the different sizes of sheets

Cap . . . .

Demy . .

Medium . . .

Royal . . . .

Super-royal .
Elephant . .

13 X 17 inches.

15 x 20

Imperial . . . . 22 X 30 inches.
Columbier . . . 23 X 34

26 x 34

i <

1 (

Atlas

4 4

17 X 22

1 i

Double Elephant . 27 X 40

Antiquarian . .

4 i

1 9 x 24
19 X 27

23 x 28

I i

■ 31 x 53

1 1

PE)N-DRAWINQ.

shade it will always retain ; so that the artist using it knows just what
he is doing. Of this ink, which is probably the most ancient of all the
materials employed about writing or drawing, Mr. Hamerton says : —

“India ink, of good quality, must always be esteemed as one of the most suc¬
cessful inventions amongst the material arts. Human ingenuity has seldom at¬
tained its object so completely as the Chinese inventors attained theirs when they
tried to present the black smoke of lamps in such a form that it might be cleanly
and portable, and convenient both for writing, for linear drawing, and for the most
delicate shading. It is one of the very few things in which absolute perfection has

been attained. It lasts forever.”

In addition to the paper to receive the drawing, some thin transpar¬
ent paper for tracing and transferring is requisite ; also blotting-paper,
to take up any truant drops of ink falling where not wanted.

A good knife-eraser and one of rubber ought also to be
at hand, to remove marks of pen and pencil when desired.

The pens to be chosen for pen-drawing should be of the
best make, with smooth, nicely finished points, and of a fineness from
that of the delicate Crow Quill, Lithographic Pen, and Spencerian No.

upward through the coarser grades, as adapted to the work in hand.
The use of the oblique clasp with the penholder, as shown in Fig.

enerally preferable to the common straight holders

Erasers.

Pens.

In the last sentence he probably refers to the ink’s never changin
in color or depth, either in the stick or upon paper.

The qualities by which good India-ink may be known are quoted
by the same author from MerimJe; and we can hardly do better than

to repeat his description here. It is as follows : —

will be found

FIG. 73-

When broken, its fracture is black and shiny. The substance is fine in tex-

for pen-drawing, as it brings the points of the pen more equally to the

and favors smoothness of line in drawing as well as writing.

When straight-line tinting is to be done with the aid of the ruler,
it is better to use a draughtsman’s drawing-pen instead of the ordinary | ance.
steel pens. Fig. 74 shows such a pen, exclusive of upper end of holder.

The regulating screw opens and shuts the jaws of the pen, so as to x ~
make the fine fine or coarse at pleasure. The ink should be introduced
between the points with a brush or writing pen, so £s to leave the
outside dry and clean ; but the pen may be dipped into the ink, if the
sides are afterwards wiped before using. Select the pen with care, in

ture and perfectly homogeneous. When 3’ou rub it with water } 7 ou do not feel the
slightest grit, and if you mix it with a great deal of water there will be no sedi¬
ment. In drying, its surface takes upon itself a skin which has a metallic appear-

It flows easily from the pen, even at a low temperature, and when it has
dried on the paper a brush charged with water passes over it without disturbing it.

This property is very remarkable, for the same ink, dned upon marble or ivory,

it is wetted, which proves that an indelible combination is

paper

gives way as soon as
formed by the ink and the paper impregnated with alum.

Signs by which to know a good quality of the ink before use have
been suggested ; such as, that it should be scented with musk or cam¬
phor, that the stick should be nicely molded and finished, and the
characters or ornaments upon it should be finely executed,
cations doubtless increase the probability of the ink’s being good, but

It is very unlikely that any fine quality of -

coarse and unfinished exte¬
rior ; so that in rejecting such, one could hardly go amiss,
all the exterior signs are favorable, it is still admitted that the only

certain test of the ink is in its use.

To prepare the ink, place a teaspoonful or so of pure water into a

small saucer, — clean and free from dust,

stick into the water, rub it about in the dish, until the liquid reaches

Such indi-

FIG. 74 .

without making it certain,
ink would be offered to the public with a

purchasing, and keep the point in good order, using in it only India

ink, as the acids of writing inks will be likely soon to roughen it.
Hold the pen nearly vertical in use,. and, pressing lightly, move it from
left to right.

India Ink. —The only ink that can be recommended for anythin
more than the most ordinary pen-drawing is the India or Chinese ink.
It is fadeless, and attains the moment it is dry the color and depth of

But where

and, dipping the end of the

PH)N-DR AWING.

the required blackness ; which can be best told by trying it upon pa¬
per with a pen. In grinding rub the cake of ink partly in the water
and partly out of it, to prevent its absorbing too much of the water
and cracking. Do not press too hard upon the stick oi rub too vigor-
ously, as it tends to make the ink detach in larger particles, and so
produce a fluid not so fine as obtained by gentler treatment.

inked or traced. Hold the pen very much as in writing. It is pru¬

dent, when the line is a difficult one, to sweep the pen over it first
without touching,

so as to be sure that the hand is in a position to
Then, placing the pen to the paper, execute as much of
the line as can be done with certainty ; when the hand and pen can be
readjusted and the next section drawn in like manner.

command it.

' A better arrangement than the saucer for preparing ink is the tile,
of porcelain or slate, specially devised for the purpose, with a slant for tory line when drawn downwards
grinding the ink and a well for retaining it. The form of tile with side

the circular grinding slant and well in the middle is considered rather
preferable to that with an oblong slant and well at the end. The
covers often provided with the tiles help to preserve the ink from dust
and evaporation, when not in use.

India ink should be freshly mixed every day, when needed, to be
at its best.

A little practice will show that the pen produces the most satisfac-

or in the direction of its hollow

as in making the down strokes in writing,
is desired to have every line smooth and perfect, it is best to turn the
paper or the hand so that the lines can be all executed in that way.

It is generally best to ink the left side of a figure first; so that the

side completed may not be hidden by the hand, but remain in sight

(

while the other is in course of execution.

When, therefore, it

After outlining, the matter of shading is to be attended to. Shades
may be either flat or graded, the former being of one uniform depth

A sponge — the softer and cleaner the better

held in a teacup or

sponge-glass, and charged with water, is needed to wipe the pen upon

occasionally to keep it clean and promote the flow of ink. The sponge ually, in strength in one or more directions.

is particularly necessary when the ink must be used very black, and mostly graded, and to a perfection that no hand can match, and therein

therefore rather thick ; but care must be taken, in that case, lest the

throughout, and the latter increasing or decreasing, more or less grad-

The shades of nature are

lies much of their beauty. Flat tints are to shading what the straight
line is to form, and the graded shades correspond to the curve.

The uneducated eye is blind to the finer shades ; but abstract exer¬
cises, like those to be suggested, tend to improve the capacity to
and appreciate them. Common writing-paper and ordinary black ink
will answer in this elementary practice.

Begin with flat shading, by enclosing squares, a half inch or more
in height, with the pencil, and filling them evenly with pen-lines. It
does not matter so much at first how the lines are made or in what
direction they run, as that the tint produced be even throughout.
When the square is filled in nearly aright, if a spot in it looks too
light, the lines can be carefully strengthened there, or additional lines
or dots stippled in between ; and a £lace found too dark may be re¬
duced by slightly erasing with the point of a sharp penknife ; until
at last each part will be as dark as every other, and no darker. Take
care not to work over the same place again till the lines before laid
there are quite dry. A piece of flat-tinted cloth or paper placed beside
the shaded square will help to make its imperfections apparent by the

pen retain so much water, from its contact with the sponge, as to re¬
duce materially the shade of the ink.

A drop of ox-gall added to the India ink is said to make it flow
more freely. The ox-gall, of a refined quality, is to be had of dealers
in water colors.

There are several liquid preparations of India ink that may be

use. These inks are not so satis¬
factory, however, as that fresh ground from a good stick, as above ex¬
plained ; but they will often answer, and are therefore convenient to
have at haud.

purchased in small bottles ready for

ELEMENTARY EXERCISES.

To ^promote accuracy and steadiness in outlining, the going over
with pen and black ink of circles, squares, triangles, and other regular
geometrical figures, first drawn in pencil with ruler and compasses, is to
be recommended. The tracing also in pen and ink of such figures
of symmetrically formed orn am ents, upon transparent paper placed over
them, would be similarly useful. Try to reproduce exactly the forms

PE}N-DRAWINQ.

The I accelerates towards the darker end. When the grading of a strip is

nearly complete, points too light or too dark may be corrected in the

manner as suggested in the flat shading. In this, and also in

contrast with a standard approaching something like perfection,
lighter and more delicate these first essays can be made, and preserve
their evenness, the better the discipline for the eye. To secure such

same

the previous exercise, two or more squares or strips may be in progress
at once, the ink being given time to dry upon one while engaged upon

delicacy take little ink in the pen and carry it lightly over the paper.

At first, as said above, little attention as to how the lines are made
is advised, in order that the entire thought may be given to securin

But after some practice in that way has begun to

awaken the eye to the perception of evenness and unevenness, the

and direction of the lines may be taken more into

another.

At the beginning of this exercise the aim should be accuracy of

as to other points. Afterwards more

something as shown in Fig. 76,

evenness of shade.

gradation, without much
systematic work can be undertaken
the quality, spacing, and direction of the lines being more attended to.

In these exercises it is well to cover with the first series of lines the

quality , distancing ,
consideration and systematic fining be also done, like that, for example

entire strip, except the part to be left white; then let the second
course cover the first except a small portion near the fight end, and

with the third and each successive series.

If these different courses of fines have an angle to each other some-

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so on

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FIG. 75.

what as indicated in Fig. 76, and in B, C, and D , of Fig. 75, the cross¬
ings will be more likely to be clean and sharp and the shading clearer.

of curved fines in

Fine or open fining, or both, secures light-

shown in Fig. 75, above,
ness of tint; while tints are darkened by makin

Figure 77 shows (in the left group) the crossin
In the latter shading in a manner similar to that just mentioned in respect to

the fines heavier,

closer, and by adding one or more series of cross fines.

the different series of crossing lines, whether straight or curved,

case,

should have some orderly relation to each other, to produce the best

Cuts B, C, and D , Fig. 75, for example, show the courses of

results.

lines related to each other like the diagonals, and also like the sides

The figures in connection with the exer-

and diagonals of a square,
cises on graded shading illustrate the same or a similar idea.

FIG. 77.

It will be noticed that in the group on the left in the

Some skill having been attained in making shades fiat and even,

them. For this purpose

straight fines.

figure the different series of curves have to each other a relation, in
respect to direction, like the diagonals and sides of a square; while in
the other group the relation is like that of the sides of a triangle. The
formal outlines given to the groups of lines in the cut was

one is prepared to try his hand at gradin

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make their peculiar relation more apparent.

All the exercises here recommended can of course be done in stipple

The sphere below is an ex-

F 1 G. 76.

other styles of finish, instead of fine.

enclose with the pencil some oblong spaces, say a half-inch high by

one and a half to two inches in length ; and grade these with pen-line ample of one style of stipple shading. .

shading from white at one end to black at the other. Aim to make Excellent additional practice will be found m outlining and shadm

the shade increase in regular degrees throughout the strip. It is best cylinders and spheres. Examples of such exercises are shown m Fig-
so in the first exercises, though in nature the degree of increase often ures 78 and 79.

In the former the highest fight is a long strip from

PE}N-D^AWINQ.

which the shades grade to the right and left ; while the highest light
in the sphere is of circular or oval form, from which the shades in¬
crease outwards in every direction. If the learner can have before him
copies in plaster, or in wood painted white, of solids like those men¬
tioned, and study and copy them in different lights and positions, it
will materially aid him in mastering the subject of shading. In imitat¬
ing the shades of such objects, or those found in nature or engravings,

held with weights or pins in the place where the drawing is to go ;

the lines being then followed with the point of a hard pencil or
smooth ivory or metal point, with rather firm pressure, will be trans¬
ferred npon the sheet beneath. The outlines of an

engraving or un¬
mounted photograph can be copied in the same way. But, as that

process injures the copy, where it is desired to preserve the latter in
good condition, methods like the following should be employed.

Place thin* transparent paper over the work to be reproduced, and
trace upon it the outlines with a rather hard pencil.

Removing the

tracing so made, and placing it face downward, go over the lines
the other side with a softer pencil. Then, adjusting it to the place
the drawing is to occupy, follow the lines with
or with a burnisher, using some pressure, and a good transfer should
be the result. Two or more additional transfers

upon

hard smooth point,

FIG- 79.

though fainter —

Instead

notice first the lightest and darkest points of the entire subject, and
then of each part in succession, observing also the relative strength of
the extreme lights and shades of the different portions.

Sometimes it makes a good beginning for a pen-drawin
outline is secured, to cover the entire piece with a fine close-lined

may also be made from the same tracing without relining,
of penciling the lines upon the other side of tracing, a piece of transfer-

which is thin paper rubbed evenly over one side with black-

paper
lead or a soft pencil

after the

can be used. After the tracing is in position
this transfer-paper is placed beneath it with its blacked side down;
tint, except only the highest light. This first tint may be followed by | when a tracing-point going again firmly over the lines, as in the other
another similar, leaving this time not only the highest light, but the

method, impresses a copy of them upon the sheet beneath.

When the outlines of a picture to be copied are obscure

one next to it in brightness. The process may be carried still further
with additional courses of tints, and furnishes an admirable groundwork
for an attractive drawing.

black ink this method would not be so well adapted.

as is

enerally the case in a photograph, sheets of prepared gelatine,

For work that must be entirely in quite account of their almost perfect transparency, are preferable to ordinary

tracing-paper.

The lines are to be traced upon the gelatine with

keen . steel point,
needle.

like that of a well-sharpened darning or etching
The point must cut into the gelatine so as to leave a little

SECURING AN OUTLINE.

The outline for a pen-drawing may be drawn freehand, or it may
be transferred to the desired place from a previously prepared drawin
or from other copy, by a more mechanical process.

In preparing the outline freehand, use a medium graded pencil,
and avoid as much as possible the making of heavy lines, as well as
roughening the surface of the paper by a too free use of the rubber,
and thus unfitting it for the reception of ink.

There are various methods of. transferring. The outlines may be
drawn upon a separate piece of paper; which is afterwards blackened
upon the back with a soft pencil along the course of the fines, and

furrow ; which being afterwards filled with pencil-dust, and the gelatine
turned face down and rubbed with a burnisher, imparts a clear impres¬
sion to the paper beneath. The impression so made, however, will
reverse the position of the original. If this is not desired, the first
impression from the gelatine may be made upon separate paper, which
being turned face downward at the proper place, and its back rubbed

Tracing-paper may be made of ordinary white tissue-paper, by applying to it, with a sponge

or broad brush, a mixture of boiled oil and turpentine, in the proportion of one part of the former
to five of the latter.

One coat only is required, and that not too thick; the paper is then hung
upon a string to dry, and is ready for use when the clear oily marks have entirely disappeared.

PEJN-DR AWING.

the last-mentioned, with addition of middle tints;

third

with firm pressure, will yield a second transfer in correct position. Or
the same end can be secured, by again tracing the lines — after filling
them with pencil-dust to make them distinct
upon the other side of the gelatine. An impression, taken as before
from this retracing, will be in the position of the original.

The gelatine process of transferring is a favorite with engravers.
The sheets should not be exposed to sunshine or to moisture, and are
best kept covered with clean paper and placed between the pages of a

large book.

The outline to serve as the basis for a pen-drawing is often secured
also by photographic process. A method largely used in the produc¬
tion of work for photo-engraving is to line-in the design with the pen
directly upon an unfixed photographic print. The photo-color is then
bleached away leaving the pen-lines standing. This bleaching is done
by flowing over the print a solution of bichlorate of mercury (corro¬
sive sublimate) in alcohol, — the proportions of the solution being one
ounce of the former to one quart of the latter ingredient.

shadows ;

fourth and last, a combination of the three lower stages, with such

with the steel point | additional fine touches as may produce an imitation of nature as com¬
plete and perfect as pen and ink in the style of finish chosen can
achieve. The fourth and full degree of finish is more within the
province of the brush, and pen-draughtsmen very wisely do not often
attempt it, further than perhaps in the more central or interesting por¬
tions of their work.

A number of the leading styles of regular or systematic finish are

The drawing numbered 2 upon

illustrated upon the following page,
that page is an example of pure outline : No. 1 is an accentuated out¬
line, the line being accentuated or thickened on the side away from

the light; while of the shaded drawings, No. 5 is finished entirely with
lines; No. 3, with.stipple-work or dots; No. 4, with lines and stipple;
and Nos. 6 and 7 are outlines shaded very simply with little more
than a flat tint laid with parallel lines.

There is another style of drawing with the pen that ought to be
here mentioned ; which, instead of using black ink only, employs sev¬
eral lighter shades in addition. The different shades are prepared in
separate dishes, the darker ones being made so by longer grinding.

Three or four tints will be sufficient, graded from the black down¬
ward, fighter and fighter, to a delicate shade. Further range of tint is
obtained by having a cup of water at hand, to dip the pen in and thus
reduce when required the shade of the ink with which it is charged.
This mode of pen-drawing favors a much nearer approach to the finish
of nature than the exclusively black-ink styles, and is capable of rival¬
ling in softness and beauty the finest engravings and photographs. It
is not adapted, however, to producing work for photo-engraving.

STYLES OF PEN-DRAWING.

Drawings made with the pen may be broadly separated into two
classes, — the free and the systematic. The latter are generally made
after some consideration and preparation, upon an outline previously
sketched in pencil, transferred, or otherwise obtained, while the former
are done off-hand upon the spur of the moment. The pen-drawings
of artists are more after the free style, and full of interest, revealing at
times the budding of those ideas whose full flower and fruitage
their finished works. It is hardly in place, however, to attempt to
teach that sort of drawing, it being better left to be formed by and be
an expression of the individual taste and temperament.

Systematic pen-drawing, which gives more attention to accuracy,
finish, and the lay of the fines, has drawn its lessons largely from the
engravers and etchers ; but is likely to deviate more and more from
them, and perhaps form a distinct style of its own.

In respect to fi nis h pen-drawings are of many sorts, varying both
in their degree and in their style. By degree of finish we mean the
stage at which the drawing is left and considered complete ; as, first,
and simplest, outline only; second, outline with main shades and

ENLARGEMENT AND REDUCTION OF DRAWINGS.

Photography offers a ready and accurate method for securing en¬
larged or feduced copies of drawings, and is often employed for that
purpose; but there are other ways, both graphic and mechanical, for
doing this, that may sometimes be of use. The time-honored method
is, to divide the work to be copied, or a tracing of it, into squares, and
the space the reproduction is to occupy' into the same number of squares.
The portion of the design in each square of the original is then to be

P$N-DRAWINQ.

79 .

drawn freehand into the corresponding one of' the enlarged or reduced

and it is hence advisable to keep it in the best condition possible.
Still, with the utmost care, the drawing will probably become suffi-

copy.

Another method is illustrated in Fig. 81, and consists in drawing

ciently soiled to need some renovating when done. For such general
from a common point, selected at pleasure, lines of indefinite length cleaning, bread, somewhat stale, is the best article. Sponge-rubber,

through the principal points of the figure to be copied. Upon those an d a i so the old-fashioned black India-rubber, when of good quality,
lines, at a distance from their common point proportional to the

may likewise be employed. These appliances must be used gently
upon the drawing where the work is fine. Very fine sand or glass
paper can be used to clean the margins, where much soiled, as also to
make erasures too extensive for other means.

change of size required, the corresponding prin¬
cipal points of the figure sought will be found.
For example, suppose the series of curves be¬
tween A and H in Fig. 81 is to be reduced
one-half. From any point, as O, draw lines, O
A , OB, O C, etc., through each of the princi¬
pal points A, B , C , etc. of the curve,
find upon those diverging lines the points i
3, etc., midway between the point O and the
points A , B , C , etc., and they will be the prin¬
cipal points of the reduced curves sought,
the curves were to be reduced to one-third or one-fourth original size,
the points i, 2, 3, etc., of the new curve would be at one-third or

fourth of the way from the point O to the points A , B , C, etc. If the
work is to be enlarged — for instance, if the small series of curves from
1 to 8 is to be doubled in size — the distances measured upon the di¬
verging lines to find the points A , B, C, etc., of the curves required,
will each be double that to the corresponding points 1, 2
the smaller curve. To enlarge the same curves three times, four times,
etc., the points A, B, C , etc., would each need to be carried out upon
the radiating lines to distances three times, four times, etc., as great
as the points 1, 2, 3, etc., are from the center of divergence, O.

A mechanical method for enlarging and reducing drawings is fur¬
nished by the pantograph.

A piece of good blotting-paper ought always to be at hand, with
which to remove as much as possible of any chance blot before it is
dry. For erasing what the blotter may leave of such mishaps, or others
Then which dry untouched, as well as for taking out erroneous ink-lines,

D"’-.

2, knife-eraser is generally used ; which needs to have a very keen edge

to do its work well. The misplaced ink should be removed gradually,
moving the eraser quickly and lightly in one direction for a time and
If I then in another. This care may preserve the surface in good condi¬
tion. After the ink is thus removed it is best to rub the part gently
one- 1 with a piece of rubber ink-eraser, and then burnish it with a bit of

smooth ivory or bone. In re-drawing over the spot where the erasure
occurred, carry the hand lightly, and use little ink in the pen. Another
method for making such erasures is to place over the part to be cor¬
rected a piece of firm drawing-paper with a hole in it exposing just
3, etc., of | what is to be erased ; which is then washed out carefully with a clean

soft sponge, or a stiff brush dampened in pure water.

A “Glazing Pencil” has recently been invented, which restores
surface of writing and drawing-paper, and tracing-linen after erasures,
when applied with light friction.

^ ' <

FIG. 81.

MOUNTING DRAWINGS.

For the convenience of those who may wish to mount their paper
upon cloth, either before or after the drawing is made, we append
directions by which it may be done.

Select white cotton or linen cloth, and stretch it tightly upon a
frame, table, or other suitable place, fastenin
driven half-way in and close together. The paste should be cold,
rather stiff, free from lumps, and be applied evenly to the back of

CLEANING AND CORRECTIONS.

Care should be taken to have a clean piece of paper under the
hand, to protect the drawing while engaged upon it; and it is well,
especially if the design be large, to keep the portions covered which

•a

are not being worked upon. The process of restoring the surface of a
much tarnished piece is likely to injure the delicate parts of the work;

the edges with tacks

PE^N-DRAWINQ.

the paper, — a large brush being best for that purpose. The paper is neither white nor black hues should be crossed by others or retouched
then laid, paste side-down, upon the cloth, and made to adhere in until perfectly dry.

The lines for photo-engraving may be fine, but

sharp work upon the plates — ought always to be perfectly black, the
Then press the paper down to close adherence with a clean, soft ink being of the best quality, and ground until it attains its deepest
cloth, and leave it till thoroughly dry before taking up. Maxton shade, though no longer, lest its flowing qualities be impaired. A
recommends dampening the back of the paper before pasting. This drop or so of ox-gall may be added to the ink, as before reco mm ended,

ink, which is similar to

the middle first, and gently smoothed down with the hands, thence out¬
ward.

to obtain clear,

would probably be good for a drawing made entirely with India-ink ; to improve its fluidity. The photo-drawin
but one containing ordinary writing-ink would need to be kept as dry the India, and to be mixed in the same way, is a dead black, quite
as possible in the process of mounting, to prevent the lines from run- free from gloss, and esteemed by some as better for its purpose than

ning. It is advisable also, in mounting drawings containing work in any other ink.
common ink, to have the paste as dry and stiff as can well be worked.

Pencil-lines should be removed from a drawing intended for photo¬
engraving, when complete, but with soft rubber and very carefully, to
prevent impairing the pen-lines.

Ruling for script to be photo-engraved is sometimes done with faint
blue-ink lines. These do not reproduce in the process, and so do not
need to be erased.

PEN-DRAWINGS FOR PHOTO-ENGRAVINGS.

The photo-engraving processes now offer a wide and tempting field
to those who are masters of the pen as an instrument for drawing.

Designs to be reproduced by this method should be upon the
whitest of paper, with a surface smooth, firm, and level. The Bristol-
boards, and other similar papers, are therefore best suited for the pur¬
pose. There is also an enamelled board, furnished by photo-engravers,
upon which both black fines and white can be produced, the former
being drawn with the pen, and the latter with a steel point upon the
black lines or masses previously laid with pen or brush. The ink for
the enamelled board is improved by the addition of a little glycerine.

White lines may also be drawn with the pen across black fines, and
masses upon other papers; by using the water-color whites. For fines
to be thus crossed with white the ink should be well sized; but producing picture work for photo-

The drawings are not to be in reverse, as sometimes for other en-

but in the position they are to appear when printed.

And it

gravm

is best to make them at least double the size (that is, twice the height
and twice the width) the engraving is to be. The reduction necessary
for the engraving makes the fines finer and smoother, and so helps to

counteract whatever opposite tendency may arise from the imperfections

of the process.

The photographic method of securing a basis for a pen-drawing,
described under head of “Securing an Outline,” is largely used in

engraving.

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